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THE  JUTHORS'   HANDBOOK  SERIES 

THE  UNIVERSAL 
PLOT    CATALOG 

AN  EXAMINATION  OF  THE  ELEMENTS  OF  PLOT  MA- 
TERIAL AND  CONSTRUCTION,  COMBINED  WITH  A 
COMPLETE  INDEX  AND  A  PROGRESSIVE  CATE- 
GORY IN  WHICH  THE  SOURCE,  LIFE  AND 
END  OF  ALL  DRAMATIC  CONFLICT 
AND  PLOT  MATTER  ARE 
CLASSIFIED 

MAKING   THE  WORK 

A  PRACTICAL  TREATISE 

For  all  Writers  of  Fiction  and  Drama,  Prose  and  Verse;  also 

Editors,  Orators,  Teachers,  Librarians,  Newspaper 

Men,  StatisticiariS  and  Preachers 


HENP'  _RT  PHILLIPS 

Author  o{  "The  Plot  of  the  Short  Stop/,"  "Art  in  Short  Story  Narration.' 

"The  Photodraaia,"  and  formerly  Associate  Editor 

of  the  Metropolitan  Magazine 

INTRODUCTION    BY 

HOMER  CROY 

Author  of  "When  to  Lock  the  Stable."  etc. 


THE  HOME  CORRESPONDENCE  SCHOOL 

SPEIXGFIELD,   MASS. 


Cor.vrlght,    1916,    by 
HENRY     ALBERT    PHILLIPS 

Copyright,    1920.    by 
THE   HOME    CORRESPONDENCE    SCHOOL 


PM 


TO 

EDGAR  ALLAN  POE 

THE  FIRST  MAN  OF  LETTERS  WITH  THE  GENIUS  AND 

COURAGE  ir>rrELLIGENTLY  TO  ANALYZE,  UTIUZE 

AND  UNIVERSALIZE  THE  FICTION  PLOT. 

THIS  VOLUME  IS  DEDICATED 


CONTENTS 

CHAPTER  PAGE 

INTRODUCTION vii 

FOREWORD 3ci 

I.— THE   NATURE   OF   PLOT    MATERIAL     ...     17 
Dramatic  Expression;    Plot  Particles;    the  Ordi- 
nary and  tlie  Extraordinary;    ABC  of  Plotting; 
Recognition;     Emotional   Core;     Dramatic   Frag- 
ments. 

II.— DISCRIMINATION   BETWEEN  PLOT  MATE- 
RIAL  AND    COMPLETE    PLOT 22 

A  Confusion  of  Terms;  Analogies  in  other  Fields 
of  Art;  Law  of  Fiction  Plot;  the  Sum  of  All  the 
Parts. 

III.— THE    RELATION    OF    PLOT    TO    LITERARY 

CONSTRUCTION 28 

Not  Compos-ition  but  Construction;  Keystone  of 
Intelligent  Effort;  Soul  of  Organic  Matter;  Rela- 
tion to  Strategj';    Non-Fiction  Forms. 

IV.— COMMON  SOURCES  OF  PLOT  MATERIAL  35 
Plot  Matter  also  Fiction  Material;  the  Five  Senses 
and  Life;  the  Dramatic  Ear  and  Eye;  the  Ficti- 
tious Mood  and  its  Stimulants;  What  Constitutes 
Confidences;  Stealing  Plots  or  Stimulating  Ideas; 
Books,  Newspapers  and  Poetry;  Phrases,  Ex- 
cerpts, Pictures  and  Notes. 

v.— WHAT  THE  UNIVERSAL  PLOT  CATALOG  IS    43 
Not  a  List  of  Actual  Plots;  Potential  Rather  than 
Existent;     Chaos  versus  System;   A   Thesaurus, 
Ready   Reference,  Perpetual  Stimulant,   Sponta- 


CONTENTS 

CHAPTER  PAGiJ 

neous  Collector  and  Efficient  File;  Eminently  Use- 
ful for  Editors,  Orators,  Teachers,  Librarians, 
Newspaper  Men,  Statisticians,  Preacliers  —  as 
well  as  Writers  of  all  Kinds. 

VI.— THE  SCOPE  OF  THE  CATALOG 51 

Man;  his  Vicissitudes  and  his  Desires,  his  Rela- 
tionships and  his  Struggles;  the  Plot  of  the  Plot 
Catalog;  a  Complete  Cycle;  the  Line  of  Progres- 
sion; that  which  is  Not  Man;  Ending  with  the 
Beginning. 

VIL— HOW  TO  USE  THE  PLOT  CATALOG.  ...  50 
A  Practical  Device,  not  a  Theoretical  Contrivance; 
the  Automatic  Plot  Collector  and  File;  How  One 
may  be  Made;  Filed  According  to  the  Predomi- 
nant Phase;  How  to  Avoid  Confusion;  All  Divi- 
sions are  Potential ;  Practical  Illustrations. 

VIII.— THE   UNIVERSAL   PLOT    CATALOG    (I.— The 

Grand  Divisions)      71 

A  Progressive  Category  of  Man  —  his  Vicissitudes, 
his  Desires,  his  Relationships  and  his  Struggles  — 
in  which  All  Dramatic  Conflict  and  Plot  Material 
in  the  Universe  find  their  Source,  Life  and  End. 

IX.— THE   UNIVERSAL   PLOT    CATALOG    (II.— In- 
clining ALL  Minor  Divisions) 75 

Together  with  Starred  References  for  Filing  Plot 
Material. 

X.— A  FICTION  EXAMPLE  ILLUSTRATING  THE 

VALUE   OF   THE   CATALOG      107 

"  A  Weaver  of  Dreams;  "  its  Classification  and  An- 
alysis. 

XL— A   COMPLETE    INDEX   OF   PLOT   SUBJECTS  129 
Alphabetized  with  Cross  References. 


VI 


INTRODUCTION 

AVERY  great  editor  once  told  me  some- 
thing that  has  always  stuck  in  my 
mind.  It  was  just  after  I  had  come  to  New 
York  from  a  small  western  tov/n  and,  al- 
though I  recognized  the  truth  of  what  he 
said,  I  did  not  appreciate  its  depth. 

"A  writer  sells  his  first  story  on  account 
of  plot — after  that  technique  has  to  pull  him 
through." 

I  knew  that  he  had  said  something,  but  it 
took  me  a  long  time  fighting  away  at  writing 
to  realize  the  truth  of  his  remark.  Every 
person  who  has  the  cosmic  urge  in  him  that 
makes  him  put  himself  on  paper  in  narrative 
form  has  a  big  story  in  him  before  he  touches 
his  pen.  The  author  seizes  his  pen  and  what  is 
in  him  flows  out.     He  sends  it  out  and  it  sells. 

But  when  he  again  feels  the  inward  stirring 
and,  seizing  his  parturient  pen,  writes  his 
next  story,  the  magazine  can't  see  it.  It 
comes  back  and   comes  back,    to  be  cata- 

vii 


INTRODUCTION 

combed  In  a  pigeonhole  forever.  The  au- 
thor can't  understand  why  his  first  story 
should  sell  and  his  next  one  scarcely  get  a 
personal  letter.  He  moons  around  awhile 
and  then  goes  back  to  the  grocery. 

The  reason  is  that  the  plot  of  his  first 
story  was  big  enough  to  sell  regardless  of 
technique.  After  that  the  author  must  tell 
a  less  moving  tale  and  tell  it  more  skilfully. 
He  has  to  depend  on  the  efficacy  of  his  art. 
He  has  not  yet  mastered  his  art  and  as  a 
result  his  postage  is  staggering. 

For  his  first  story  the  author  does  not 
need  anything  but  paper;  after  that  he 
needs  every  help  in  the  world  that  he  can 
get.  He  has  now  entered  the  finest  of  the 
fine  arts  and  must  take  advantage  of  every 
hint  that  he  can  get.  If  he  does  not  some 
one  else  will;  it  is  merely  buttering  his  own 
bread. 

As  a  reader  on  magazines  and  as  an  editor 
I  have  found  that  ninety  out  of  every  hun- 
dred stories  are  sold  on  account  of  their  plot. 

Now,  after  the  young  author  has  sold  his 
first  story,  he  is  up  against  that  old  devil 
Plot.     His  first  story  has  poured  itself  out 

viii 


INTRODUCTION 

and  now  he  must  find  something  to  take 
the  place  of  that  first  fine  frenzy.  He  has 
not  been  writing  long  enough  to  sell  by 
technique  alone,  so  plot  must  pull  him 
through.  But  how  to  get  it?  That  is  the 
question;  that  is  what  makes  one  tumble 
and  toss  on  the  midnight  ostermoor. 

Anybod}^  who  can  help  you  run  a  plot  to 
earth  is  a  friend  from  on  high.  Get  him  by 
the  coat  tail. 

But  the  beauty  of  it  is  that  you  can  learn 
to  build  plots.  It  is  no  simple  matter — 
not  by  a  long  shot! — but  you  can  learn. 
It  is  all  a  question  of  whether  you  really 
want  to  learn  or  whether  you  are  content  to 
be  a  dabbler.  It  is  a  matter  of  paying  the 
price.  The  first  thing  you  have  got  to  do 
is  to  get  plot  by  the  neck;  but  when  you 
have  got  plot  eating  out  of  your  hand,  you 
have  just  about  got  your  fingers  on  the  laurel 
wreath. 

I  figure  that  I  wasted  six  years  in  learning 
how  to  sling  ink.  I  began  just  exactly  back- 
ward, with  no  one  to  tell  me  how.  I  first 
learned  the  art  of  the  phrase;  I  could  make 
words  climb  a  pole,  but  I  did  not  know  a 

ix 


INTRODUCTION 

blessed  thing  in  the  world  about  plot.  I 
could  think  of  fine  sounding  words,  but  I 
could  not  do  anything  \vith  them — I  could 
not  sell  them.  The  reason  was  that  I  did 
not  know  how  to  dig  up  a  plot.  And  it  is 
only  recently  that  I  have  learned  how.  If 
I  had  gone  to  work  six  years  before  learning 
how  to  build  plots  instead  of  stewing  around 
over  French  phrases  and  Latin  subjunctives, 
I  might  now  be  riding  in  a  twin-six  instead 
of  having  to  flag  street  cars. 

Homer  Croy. 


All  the  Fine  Arts  serve  their  tedious 
apprenticeships — Painting  has  its 
drawing  and  color-mixing;  Sculp- 
ture its  modelling  and  meastiring; 
Architecture  its  draughtsmanship  and 
mathematics;  Music  its  exercises  and 
counterpoint.    Why  except  Literature? 

FOREWORD 

N  no  other  dignified  modern  profession 
do  its  members  just  seem  to  "hap- 
pen"— excepting  Literature.  In  Painting 
or  in  Music;  in  La\v  or  in  the  Ministry; 
in  Carpentering  or  in  Steamfitting — one 
must  serve  an  apprenticeship  of  painstaking 
study  of  theory  and  daily  practical  exercises. 
The  apprentice  familiarizes  himself  with  the 
tools  and  learns  how  to  use  them.  He 
solves  problems  and  prepares  formulas; 
he  probes  fallacies  and  progresses  in  wisdom. 
In  other  words,  before  the  apprentice  is 
permitted  to  make  a  m.oney-yielding  servant 
of  his  profession,  he  must  become  indis- 
putable master  of  its  fundamentals. 

xi 


FOREWORD 

Years  of  study  and  apprenticeship  usually 
culminate  in  one  or  more  tests  of  the  student's 
proficiency  in  the  essayed  profession.  Suc- 
cess is  then  rewarded  with  some  official 
recognition,  certificate  or  diploma  which  in- 
forms the  world  that  the  candidate  is  duly 
qualified  to  practice  the  said  profession  with- 
out danger  to  client  or  public.  Further- 
more, he  is  then  entitled  to  the  standard  rate 
of  compensation — and  as  much  more  as  the 
public  thinks  he  is  worth. 

To  practice  many  professions,  without 
either  having  passed  thru  an  apprenticeship 
or  possessing  the  proper  credentials,  con- 
stitutes a  breach  of  common  law.  The 
transgressor  is  liable  to  heavy  fines  or  im- 
prisonment. This  regulation  protects  both 
the  public  from  becoming  victims  and  the  pro- 
fession from  degeneracy.  We  can  scarcely 
say  that  the  foregoing  is  true  of  the  Liter- 
ary profession. 

The  reading  and  theater-going  public 
continue  to  suffer;  the  high  standards  of 
a  selective  profession  are  lowered  by  medi- 
ocrity. Strange  as  it  may  seem,  this  lower- 
ing of  the  standards  is  not  the  triumph  of  a 

xu 


FOREWORD 

foe  from  without,  but  the  work  of  an  enemy 
from  within. 

Who  are  the  enemies  that  lurk  within  the 
craft?  Are  they  the  unskilled  laborers  who 
have  simply  "happened"  thru  the  chance 
sale  of  a  story?  Or  are  they  the  writers 
who  have  attained  a  "name"  which  they 
maintain  by  grinding  out  an  annual  supply 
of  rubbish?  Or  are  they  the  manuscript 
readers  and  editors  whose  standards  are 
gauged  by  a  limited  education,  and  unbound- 
ed opinion,  a  narrow  acquaintance  with 
literature  and  a  bioad  ignorance  of  Life,  a 
shallow  judgment  and  a  deep-rooted  preju- 
dice? 

It  would  be  a  difficult  matter  indeed  to  say 
who  amongst  those  mentioned,  were  the 
most  blameworthy.  There  are,  without 
doubt,  many  of  each  class  within  the  con- 
spiracy of  ignorance. 

Every  year  thousands  of  new  aspirants 
rush  into  the  alluring  vacuum  of  beholding 
their  names  in  print.  Many  are  ignorant 
in  handling  the  elemental  tools  of  Grammar 
and  Rhetoric.  Most  of  them  have  little  or 
no  acquaintance  with  those  pieces  of  liter- 

xiii 


rOEEWOED 

ature  and  drama  that  are  acclaimed  by 
authorities  and  educated  appreciation  as  the 
master  works  of  the  species.  They  merely 
feel  that  they  can  "write."  They  take  their 
chance,  as  they  would  in  a  lottery.  If  they 
succeed  in  drawing  a  winning  check  from 
an  editor  they  accept  it  as  an  act  of  the  Will 
of  God.  They  forthwith  belong  to  the 
writing  craft  by  special  warrant  of  the  dollar 
sign. 

It  seems  to  have  become  an  axiom  of  tlic 
writing  craft  that  its  members  are  born,  not 
made.  In  a  m.easure,  this  is  true.  An 
analogy  is  found  in  the  diamond.  Uncut 
it  is  without  question  a  rare  mineral,  but 
cut  it  becomes  a  precious  gem. 

Now  that  our  writer  has  actually  "hap- 
pened" into  the  craft  without  either  labo- 
rious apprenticeship  or  meritorious  service, 
we  would  naturally  expect  him  to  set  about 
to  perfect  himself  in  the  difificult  art  into 
which  he  has  leaped  thru  sheer  mental 
agility.  We  would  not  be  surprised  to  learn 
that  he  had  journeyed  afar  to  see  or  hear  a 
famous  masterpiece,  that  he  had  given  up 
an    evening    a    week    to    hearken    to    some 

xiv 


FOREWORD 

learned  master  who  has  given  up  many- 
years  to  digging  into  the  profound  lore  of 
his  adopted  vocation,  that  lie  had  surrounded 
himself  with  special  books  that  revealed  new 
aspects  of  his  profession,  that  he  had  begun 
to  lay  in  a  store  of  impressions  to  light  the 
way  to  continued  brilliant  effort,  that  he 
had  lost  no  opportunity  to  seek  perfection. 

But  no,  our  writer  too  often  relies  upon  an 
infallibility  which  some  might  call  arrogance. 
He  is  freOuently  short-sighted  and  looks 
upon  success  as  Fame.  He  is  many  times 
self-satisfied  in  becoming  content  with  ef- 
forts that  might  be  improved.  He  avers 
that  to  study  the  technique  of  Literature 
or  of  Dram.a  is  "unprofessional"  with  the 
same  fervor  evinced  by  those  dentists,  who 
rail  against  their  colleagues  who  advertise 
as  being  "unprofessional."  Quite  forget- 
ting his  own  manner  of  entry  into  the  inner 
circle,  we  find  him  telling  those  struggling 
to  break  thru  the  pale,  that  one  must  liter- 
ally fall  into  it — from  the  skies. 

We  all  know  this  type  of  writer.  We  daily 
read  the  magazines  that  are  more  than  half- 
filled  with  stories  that  could  be  bettered  in 

XV 


FOREWORD 

rhetoric,  plot  and  technique.  Some  of  us 
know  well-known  writers  who  are  sterile  of 
plots  and  are  ready  to  buy  them,  if  necessary. 

These  few  words  are  meant  as  a  plea  for 
the  literary  education  of  literary  people; 
in  other  words,  for  the  aspirants  and  mem- 
bers of  the  literary  craft  to  take  the  profes- 
sion studiously  and  seriously.  There  is  more 
poor  fiction  than  good  literature:  there  are 
more  poorly-written  plays  than  well-written 
dramas.  A  wider  study  of  the  subject  would 
lead  to  a  deeper  knowledge  of  it,  and  a  deeper 
knowledge  would  result  in  the  more  perfect 
product. 

There  is  a  great  deal  of  poor  fiction,  but 
literature  can  be  nothing  save  good.  Fic- 
tion dies  of  its  own  inherent  diseases;  liter- 
ature lives  because  of  its  eternal  verities. 

Henry  Albert  Phillips. 

Larchmont,  New  York, 
December  21,  1915. 


XVI 


THE    UNIVERSAL    PLOT 
CATALOG 

The  most  effective  Plot  material  is 
that  which  concerns  all  Mankind  Jar 
all  Time. 

CHAPTER    I 

The  Nature  of  Plot  Material 

dramatic    expression;     plot    particles; 
the  ordinary  and  the  extraordinary; 

ABC     OF      plotting;     RECOGNITION;     EMO- 
TIONAL core;  dramatic  fragments. 

lY  Plot  Material  is  not  meant  a  Com- 
plete Plot,  but  any  data,  facts  or 
fancies  that  are  capable  of  interesting  ex- 
pansion, dramatic  culmination,  effective 
characterization  or  scenic  picturization. 

Plot  material  may  consist  of  any  item  that 
suggests  an  emotional  equation  to  the 
plotter,  or  that  may  fruitfully  expand  some 
theme  or  plot  already  in  hand  or  in  mind. 

Since  all  Art  consists  of  dramatic  expression 
— thru  recognized  symbols — of  the  emotional 

17 


THE  UNIVERSAL  PLOT  CATALOG 

vicissitudes  of  mankind,  it  is  but  reasonable 
to  assume  that  the  inspiration  for  such  ex- 
pression nmst  come  from  sources  directly 
related  to  Man  and  his  emotions. 

Thus,  plot  material  hinges  upon  a  multi- 
tude of  relationships  that  are  as  broad  as 
the  universe,  as  high  as  the  heavens  and  as 
deep  as  the  human  soul.  It  may  consist 
of  Dramatic  Fragments;  Extraordinary  Ex- 
cerpts; Sublime  Moments;  Pathetic 
Flashes;  Ejaculatory  Situations;  Gripping 
Climaxes — or  a  thousand  other  vicissitudes. 
And,  too,  it  may  be  a  Complete  Plot,  inspired 
simultaneously  from  beginning  to  end. 

In  discussing  particles  of  plot  material, 
however,  v/e  are  not  always  to  think  of  them 
as  mighty  conflagrations,  but  as  sparks 
capable  of  igniting  greater  fires  of  human 
emotion.  Perhaps  a  better  term  for  this 
material  might  be  kindling,  all  ready  for  the 
application  of  the  match  of  inspiration. 

Discriminating  between  the  ordinary  and 
the  extraordinary  in  the  selection  of  plot 
material  is  a  fine  art  that  has  much  to  do 
with  the  plotter's  success  in  acquiring  valu- 
able data.     For  all  plot  rnaterial  must  hav^ 

I8 


THE  NATURE  OF  PLOT  MATERIAL 

its  emotional  core  and  dramatic  essence. 
It  must  be  fire  itself  and  strike  fire_Jn_  the 
imagination  in^_tajitly.  Such  particles  need 
have  only  a  personal  value  to  the  particular 
plotter  suggesting  to  him  a  complete  cycle 
of  activity  that  another  might  not  dream  of. 

{EXAMPLE  I.)  A  faded  flower,  a  leaf  from  a  child's 
primer,  a  sentimental  "motto"  brmvned  with  years,  a 
cancelled  check,  a  clipping  from  some  local  paper,  a 
marriage  announcement — might  appear  commonplace  to 
all  but  the  plotter  himself,  for  whom  they  might  be  the 
golden  keys  to  some  of  his  life's  richest  treasures. 

If  ordinary  material  is  employed,  it  must 
be  at  white  heat,  or  pathetically  simple,  or 
viewed  amidst  some  extraordinary  phase,  or 
suggest  more  than  the  obvious.  Thus,  the 
commonplace  becomes  electrified  when  the 
trained  plotter  attaches  his  current  of 
imagination  to  it.  In  fact,  the  highest  art 
attainable  in  plotting  is  that  which  is  capa- 
ble of  effectively  utilizing  the  ordinary  and 
the  commonplace  phenomena  of  life.  Plot- 
ting becomes  easier  in  ratio  as  it  deals  with 
the  extraordinary,  but  narration  more  diffi- 
cult, because  of  the  greater  task  of  rendering 
the  extraordinary  material  convincing. 

19 


THE  UNIVERSAL  PLOT  CATALOG 

The  most  effective  plot  material  is  that 
which  concerns  all  mankind  at  all  times. 
This  implies  material  and  situations  which 
we  instinctively  recognize  as  Truth.  Yet 
we  trespass  on  the  oldest  themes  instantly. 
To  escape  the  hackneyed,  we  must  evolve 
new  arrangements  or  novel  culminations. 

{EXAMPLE  2.)  The  ABC  of  plotting  are:  {A) 
Selection;  (S)  Arrmigement;  (C)  Ctdmination.  They 
constitute  the  beginning,  the  middle  and  the  end.  Selec- 
tion co7icerns  Plot  Material;  Arrangement  concerns  Plot 
Development;   Culmination  concerns  Plot  Climax. 

The  successful  collecting  of  plot  material 
is  largely  a  matter  of  cultivation.  One  be- 
gins by  studying  passive  phenomena  and 
grows  to  see  plots  budding  spontaneously 
from  the  slightest  suggestion  of  inspirational 
material.  The  novice  m.ay  make  the  error 
of  collecting  every  piece  of  merely  violent 
and  dynamic  matter  that  comes  to  his 
notice,  before  he  learns  to  discern  that  which 
is  truly  emotional  and  dramatic. 

{EXAMPLE  3.)  A  newspaper  heading  might  read: 
CHILD  KIDNAPPED— PARENTS  IN  DESPAIR. 
After  all,  that  is  hut  an  ordinary  violation  of  the  law  in 
these  days  and  a  commonplace  crime.     It  is  too  trite  an 

20 


THE   NATURE   OF    PLOT   MATERIAL 

episode  to  garner  as  plot  material,  else  one  -would  be 
swatttped  with  clippings  in  less  than  a  year.  Bid  let 
us  suppose  that  the  heading  read:  KIDNAPS  HER 
FATHER— MOTHER  SUES  IN  VAIN.  Such  ma- 
terial invites  a  play  or  a  story! 

Our  first  concern,  then,  as  progressive  plot 
collectors,  shall  be  to  acquire— if  we  are  not 
endowed  with  it — the  faculty  of  Recognition. 
This  implies  an  instantaneous  knowledge 
that  material  under  consideration  is  valuable. 
The  test  of  plot  particles  comes  in  effectively 
translating  them  into  terms  of  emotion  that 
shall  re-excite  a  reader  or  an  audience  with 
the  feeling  that  gave  them  birth. 

Dramatic  fragments  will  flash  across  the 
heavens  of  the  average  mind  perhaps  a 
dozen  times  a  day.  The  average  person  has 
no  use  for  these  poignant  flashes.  With 
the  writer  of  drama,  or  fiction,  the  case 
should  be  different — fictional  ideas  are  the 
most  important  part  of  his  stock  in  trade. 
All  inspirational  data  may  be  called  plot 
material.  And  that  which  inspires  the 
creation,  continuation  and  culmination  of 
fictional  m.aterial  is  the  nucleus  of  all  pro- 
gressive fictional  endeavor. 

21 


//  this  is  so  {meaniyig  the  Beginning 
of  our  Plot);  and  this  is  so  (mea?iing 
the  Development);  therefore  this  7nnst 
he  so  {meaning  the  Climax  and  End). 

CHAPTER    II 

Discrimination  Between  Plot  Material 
AND  Complete  Plot 

A  confusion  of  terms  ;  ANALOGIES  IN  OTHER 
FIELDS  OF  art;  LAW  OF  FICTION  PLOT; 
THE   SUM   OF  ALL   THE    PARTS. 

T)LOT  Material  includes  one  or  all  of  the 
-■-  many  varieties  of  inspirational  matter 
that  contribute  to  the  nucleus  of  the  Com- 
plete Plot.  By  Plot  Material  we  mean 
fragments  picked  up  here  and  there  by  the 
alert  plot  collector,  or  odd  tid-bits  of  expe- 
rience garnered  from  the  thoughts  or  lives  of 
humanity. 

The  Complete  Plot,  however,  rarely  hap- 
pens— it  is  constructed.  It  is  a  combination 
of  the  stability  of  science  and  the  subtlety 
of  art.     It  requires  the  brains  of  structure, 

22 


PLOT  MATERIAL  AND  COMPLETE  PLOT 

the  imagination  of  artifice  and  the  fancy  of 
adornment. 

{EXAMPLE  4.)  The  most  remarkable  case  of  purei 
ftclion,  completely  plotted,  that  has  come  to  public  notice 
in  years,  is  to  be  found  iti  the  columns  of  the  newspapers 
of  November,  1915.  GIRL  CLAIMS  BODY  AS 
MYTHICAL  LOVER'S.  In  -which  a  romantic  unloved 
girl  claims  a  body  in  the  morgtie  as  that  of  her  fiance.  A 
lover  at  last — tho  a  dead  one!  It  is  sJieerest  fact,  yet 
fiction  of  the  higliest  rank.  The  dangers  surrounding 
it  are  obvious.  Current  magazines  were  naturally  deluged 
with  this  plot  whole  cloth. 

Just  as  "one  swallow  does  not  make  a 
summer,"  so  one  plot  particle,  germ,  frag- 
ment or  item  of  material  does  not  make  a 
Complete  Plot.  The  purpose  of  the  plot  is 
to  select  and  assimilate  organic  particles  of 
like  material  into  one  palpitating  organism. 

We  should  lay  especial  stress  on  discrim- 
ination between  plot  material  and  the  com- 
plete plot  because  of  a  widespread  confusion 
of  the  two  terms.  Many  plot  collectors  have 
labored  under  the  delusion  that  they  were 
the  possessors  of  plots  in  great  quantities — 
until  they  came  to  the  practical  point  of 
trying  to  evolve  a  complete  story  or  play  from 
a    given     item    of    collected     material.     It 

23 


THE  UNIVERSAL  PLOT  CATALOG 

proved  to  be  but  an  isolated  fragment. 
Disappointment  at  this  juncture  is  often 
keen  enough  to  sever  the  fine  threads  of 
further  creation. 

Can  you  imagine  other  works  of  art  being 
submitted  for  public  approval  tho  incom- 
pletely conceived — a  piece  of  music  with  the 
motif  only  half  developed;  a  statuary  group 
with  one  of  the  figures  that  completes  the 
thought  missing;  an  architectural  work 
unbalanced  thru  lack  of  finished  design? 
The  plot,  or  plan,  or  motif  in  fiction,  or 
drama,  is  more  subtle  than  the  foregoing 
because  of  our  task  of  not  merely  simulating 
emotions,  but,  further,  of  creating  convinc- 
ing life.  Gratifying  conviction  depends  upon 
completeness  of  plot. 

Plot  fragments  —  as  will  be  seen  after 
studying  the  Plot  Catalog — are  as  plentiful 
as  the  sands  of  the  sea.  The  only  condition 
is  that  we  must  go  to  the  seaside  for  them — 
to  the  Shores  of  Humanity  beside  the  Sea  of 
Life.  There  is  the  sand  worn  from  the  ages 
by  the  Tides  of  Time,  washed  by  the  Waves 
of  Passion,  swept  by  the  Storms  of  Struggle 
and  stilled  by  the  Calms  of  Death. 

24 


PLOT    MATERIAL    AND   COMPLETE    PLOT 

Complete  Plots  are  seldom  the  work  of 
nature,  but,  rather,  of  the  skill  and  genius 
of  some  accomplished  builder  of  plots.  Those 
that  fall  into  the  hands  of  plot  collectors  are 
bound  to  be  branded  with  two  damaging 
stigmas.  They  are  either  the  finished  product 
of  some  other  plot  builder,  or  prodigies  of 
nature  that  will  no  doubt  be  seized  upon  as 
common  property  by  a  score  of  current  writers. 

{EX  A  MPLE  5 .)  As  an  instance  of  the  first  7nentioned: 
A  clever  raconteur  told  a  story  one  evening  to  a  gathering 
of  friends,  among  ivhorn  was  a  ivell-known  writer  of 
fiction.  The  story  purported  to  he  taken  from  real  life. 
He  wrote  it  down  next  day  almost  verbatim  and  sent  it  to 
iJie  magazine  for  which  it  was  especially  adapted.  It  was 
retttrned  with  a  note  from  the  editor  caustically  stating 
that  they  had  published  the  story  in  the  previous  month's 
issue! 

The  law  of  the  fiction  plot  is  a  simple  one. 
It  is  analogous  with  the  syllogism  of  logic. 
Near  the  opening  of  our  plot  we  make  a 
statement,  more  or  less  direct,  that  so  and 
so  is  the  case — the  hero  desires  happiness, 
for  instance.  But  in  terms  of  action,  or 
narration,  we  proceed  to  follow  this  state- 
ment v/ith  another  equally  vital — the  villain, 
rival,  or  obstacle  is  determined  that  he  shall 

25 


THE  UNIVERSAL  PLOT  CATALOG 

not  attain  happiness.  Both  being  equally 
determined  a  struggle  ensues,  therefore  the 
following  must  happen — hence  our  Climax. 

{EXAMPLE  6.)  Kipling  in  his  earlier  stories  fre- 
quently states  his  problems  in  so  many  words.  Take 
the  opening  line  of  "Beyond  the  Pale":  "A  man  shotdd, 
whatever  happens,  keep  to  his  own  caste,  breed  and  race." 
Here  is  the  first  premise  of  our  syllogism.  Our  hero  does 
not  keep  to  his  caste,  is  the  second  premise.  It  follows 
that  what  happens  is  the  natural  conclusion. 

The  complete  plot  then  is  the  ultimate  con- 
dition in  the  process  of  plotting.  It  is  as 
absolute  as  the  mathematical  axiom  that 
tells  us  that  the  Whole  is  the  Sum  of  All  the 
Parts.  The  process  of  arriving  at  the  com- 
plete plot  may  be  reversed,  tho  it  must  always 
continue  to  be  the  sum  of  all  the  parts.  Our 
usual  method  in  plot  construction  is  to  begin 
with  a  Cause  and  lead  up  to  the  dramatic 
effect  of  that  cause.  But  in  the  mystery 
type  of  story  we  set  forth  the  Effect  in  the 
beginning  and  do  not  disclose  the  Cause 
until  the  Climax  has  been  reached.  The 
Middle,  or  Obstacle,  concerns  the  continued 
struggle  of  untoward  circumstances  to  baffle 
the  reader,  listener  or  observer. 

26 


PLOT  MATERIAL  AND  COMPLETE  PLOT 

{EXAMPLE  7.)  ''Ar den— the  Village  of  Despair" 
opens  with  a  statement  from  the  lips  of  Andrew  Fraling  of 
the  terrible  Effect  of  some  malign  agency.  The  last  word 
in  the  story  discloses  the  Cause — morphine.  In  the  play, 
"  Under  Cover,"  the  Effect  of  a  gem  smuggler y  upon  a 
certain  group  of  persons  is  dramatically  set  forth  in  the 
first  act.  The  Cause  is  not  ftdly  disclosed  until  the 
identity  of  the  secret  service  chief  is  made  one  with  that  of 
the  hero  in  the  last  act. 

In  our  opening  lines  we  set  in  motion  a 
specific  action.  It  should  become  our  aim 
thruout  the  remainder  of  our  construction  to 
develop  this  motive  to  its  implied  grand 
crisis — and  STOP.  Our  plot  is  complete; 
our  product  is  perfect;  our  goal  has  been  at- 
tained. The  Middle  of  our  product  has 
been  concerned  with  the  obstacle  interposing 
itself  to  prevent  or  delay  the  desired  climax. 
Art,  of  course,  must  invest  and  permeate  the 
whole  with  conviction. 

In  conclusion  we  may  say  that  a  Plot  is 
the  unpolished  material  for  a  COMPLETE 
and  DECISIVE  action;  it  should  be  com- 
posed of  cumulative  and  interesting  incidents 
rising  to  a  dramatic  climax  and  terminating 
in  a  manner  calculated  to  gratify  the  par- 
ticipant and  warrant  the  interest  aroused  in 
its  beginning. 

27 


Plot  operates  within  the  matter  it  in- 
habits just  as  a  soul  does  within  a 
body:  it  first  seeks  perfect  form  and 
then  ignites  with  indestructible  life. 

CHAPTER   III 

The  Relation  of  Plot  to  Literary 
Construction 

NOT  composition,  BUT  CONSTRUCTION;  KEY- 
STONE OF  INTELLIGENT  EFFORT;  SOUL  OF 
ORGANIC  MATTER;  RELATION  TO  STRATEGY; 
NON-FICTION   FORMS. 

PLOT  is  something  more  than  a  mere 
plan,  or  design — the  beginning,  end 
and  scope  of  which  we  may  behold  at  a 
glance.  A  plan,  or  design,  is  after  all  but 
a  set  of  instructions,  cold  and  lifeless,  tho 
composed  and  carried  to  fruition  possibly 
by  genius. 

A  plot,  however,  becomes  a  living  thing. 
It  palpitates,  it  moves,  it  excites — and  it 
may  even  run  away  with  the  inexpert  plot 
manipulator. 

A  plan  may  include  the  bringing  together 

28 


RELATION  OF  PLOT  TO  LITERARY  CONSTRUCTION 

from  every  direction  of  the  elements  that 
shall  enter  into  its  composition.  But  the 
perfect  plot  is  never  a  matter  of  composition, 
but  a  delicate  task  of  construction.  We  con- 
struct in  but  one  direction — upward.  We 
select  only  such  building  material  as  shall 
bear  an  integral  relation  to  the  end  in  view. 
A  plot  selects  and  assimilates  organic  par- 
ticles of  like  material  into  a  palpitating 
organism.  On  the  other  hand,  our  plan 
is  but  a  structural  organization  wherein 
beauty  and  balance,  strength  and  integrity 
combine  to  form  a  perfect  design. 

The  greatest  virtue  of  a  plot  lies  in  the 
fact  that  it  does  not  disclose  its  full  poten- 
tiality in  an  instant — it  unfolds  it  step  by 
step. 

{EXAMPLE  8.)  (j)  //  aims  toward  a  fixed  goal; 
{2)  It  meets  the  obstacles  that  stand  in  its  path;  (j)  It 
attains  its  coveted  goal  in  a  surprising,  admirable,  awe- 
inspiring,  or  effective  manner. 

The  reader,  listener,  observer  or  appreci- 
ator  of  any  form  of  plot  becomes  conscious 
only  of  following  (not  working)  out  a  de- 
lightful   problem,   or  veiled   scheme,    to   its 

29 


THE  UNIVERSAL  PLOT  CATALOG 

perfect  completion.  His  emotions  are  so 
affected  that  the  problem  becomes  real  and 
the  medium  a  thing  of  life  and  experience. 
In  other  words,  thru  the  employment  of 
the  plot,  we  must  endow  literary  or  dramatic 
matter  so  faithfully  with  the  phenomena  of 
life  that  the  appreclator  will  give  way  to 
illusion  and  accept  It  as  emotional  expe- 
rience— past,  present  or  possible. 

The  plot  constructor  has  the  same  advan- 
tage over  the  reader,  listener  or  observer  that 
the  commander  of  an  attacking  force  has 
over  his  adversary.  The  attacking  general 
knows  exactly  where  he  Is  going  to  strike, 
he  plans  precisely  when  he  shall  resort  to 
his  heavy  artillery,  he  has  estimated  the  re- 
sources of  the  enemy  and  calculated  the 
effect  on  his  ensemble  and  he  has  kept  ever 
In  mind  his  final  objective.  Thus  we  see 
the  application  of  Plot  In  military  tactics. 
If  our  attacking  general  fails  In  his  plotting, 
his  action  parallels  that  of  our  authors 
failing  continually  in  plot — It  becomes  merely 
offensive. 

We  may  reduce  the  plot  element  to  a  single 
word. 

30 


RELATION  OF  PLOT  TO  LITERARY  CONSTRUCTION 

(EX A  MPLE  9.)  On  one  occasion  an  officer  was  being 
falsely  accused  of  many  crimes  by  a  high  statesman.  His 
single  retort  was  based  on  knowledge  that  tio  one  else  in 
the  empire  dreamed  of:  "  Traitor!"  It  was  such  a  verbal 
bomb  of  Truth  that  the  statesman  stood  self-accused. 

This  leads  us  to  remark  that  plot  must  be 
alway  the  embodiment  of  Truth,  not  neces- 
sarily the  retail  of  facts. 

We  have  seen  how  the  mind  that  retains 
its  plotting  faculty  in  a  nice  choice,  that- 
elects  one  word  and  rejects  the  many  thou- 
sand others  in  our  language,  may  attain  both 
the  ideal  and  the  dramatic  effect.  Thruout, 
plotting  involves  primarily  the  processes  of 
selection  and  election.  Thus  thru  sentence, 
phrase  and  paragraph  in  the  progressive 
construction  of  rhetoric,  composition  and 
fiction  we  distinguish  that  which  is  forceful, 
perfect  or  effective  thru  its  adherence  to 
these  processes.  The  phrase  is  one  of  the 
most  effective  instruments  in  vitalizing  prose 
or  poetry,  fiction  or  drama.  The  phraseolog- 
ical sentence,  when  isolated,  should  disclose 
an  organic  perfection  —  a  suggestive  range 
well  begun  and  completely  ended  in  itself.  It 
should  be  in  full  possession  of  its  plot  faculties! 

31 


THE  UNIVERSAL  PLOT  CATALOG 

{EXAMPLE  10.)  "The  moan  seetned  to  recur  with 
each  breath-like  zephyr  chat  rose  from  the  soft  bosom  of 
the  utnbrous  night. "  The  cry  in  question  came  from 
the  lips  of  a  poor  girl  who  was  that  moment  an  outcast 
and  enduring  the  pangs  of  child-birth.  The  phraseology 
is  such  that  it  suggests  a  farther  range  of  vision  that  is 
complete  and  effective  in  itself,  while  it  intensifies  the 
picture  it  foreshadows. 

Plot  then  is  something  more  than  either 
rhetoric  or  logic — it  is  the  vitalizing  force 
that  makes  both  rhetoric  and  logic  personal. 

What  is  it  that  makes  a  good  joke,  anec- 
dote or  bon-mot  differ  from  a  poor  one? 
You  have  heard  a  good  one  spoken  by  one 
person  and  heard  it  retold  by  another  later. 
The  facts  were  the  same,  but  the  unskilful 
narrator  had  lost  the  point.  The  plot  had 
fallen  to  pieces!  Plot  value,  then,  may  be 
found  in  the  pith  of  a  remark;  the  spice 
of  a  bon-mot;  the  point  of  a  joke;  the  inter- 
est of  an  anecdote;  the  appeal  of  a  speech; 
the  conviction  in  a  sermon;  the  big  moment 
of  the  play;  the  punch  of  the  photoplay; 
the  climax  of  the  short  story.  The  good 
plotter  is  the  good  after-dinner  speaker; 
the  good  raconteur;  the  good  orator;  the 
good    preacher;     the    good    dramatist;     the 


RELATION  OF  PLOT  TO  LITERARY  CONSTRUCTION 

good  photoplaywright;    the  good  short  story 
writer. 

The  shorter  the  literary  product,  the  more 
difficult  the  art  required  in  plotting  it. 
A  five-word  phrase  is  sometimes  harder  to 
plot  effectively  than  a  fifty-thousand-word 
novel. 

{EX A MPLE  II.)  Let  us  suppose  that  Patrick  Henry 
had  remarked:  "  Well,  I'd  rather  die  than  not  be  given 
liberty!"  which  is,  in  essence,  the  same  as  the  immortal 
phrase,  "Give  me  liberty,  or  give  me  death!"  A  slight 
rearrangement  is  made  involving  plot  value  and  7ve  have 
a  sentence  of  living  fire. 

The  plot,  from  the  point  of  view  of  the 
writer,  is  a  painstaking  process  of  which  he 
is  conscious  thruout.  The  speaker  tries 
out  his  phrases  until  he  strikes  the  happy 
one  —  thru  a  process  of  plotting.  The 
preacher  carefully  keys  his  conclusion  to  his 
peroration.  The  jokesmith  is  not  a  marvel 
of  perpetual  spontaneity,  but  a  hard-work- 
ing laborer  forging  words  with  as  much 
honest  sweat  as  other  smiths. 

The  viewpoint  of  the  reader,  listener  or 
observer  of  a  given  literary  or  dramatic 
product   lies   with    the    artistic    perceptions 

33 


THE  UNIVERSAL  PLOT  CATALOG 

only.  He  must  not  become  conscious  of  the 
scientific  process  at  all.  The  energy  of  the 
labor,  thought  and  science  must  be  assimi- 
lated in  the  work,  leaving  no  evidence  of  the 
creaking  machinery  of  the  process.  The 
product  must  have  become  an  instrument 
of  pure  entertainment.  The  participator  in 
a  literary  product  must  not  be  called  upon 
to  expend  any  of  that  straining  efifort  that 
the  author  exerted  in  its  preparation. 


34 


The  child  who  eats  what  he  likes  least 
first  and  saves  what  he  likes  most  to  the 
last,  might  be  said  to  shoiv  a  natural 
aptitude  for  good  plotting. 

CHAPTER    IV 

Common  Sources  of  Plot  Material 

plot  matter  also  fiction  material;  the 
five  senses  and  life;  the  dramatic 
ear  and  eye ;  the  fictitious  mood  and  its 

stimulants;  what  constitutes  CONFI- 
DENCES; STEALING  PLOTS  OR  STIMULAT- 
ING   ideas;      books,     newspapers    and 

POETRY;  phrases,  EXCERPTS,  PICTURES 
AND    NOTES. 

NEITHEPv  life  nor  the  human  mind  can 
be  called,  properly,  a  storehouse  of 
fiction  or  plot  material.  On  the  one  hand, 
life  is  full  of  all  sorts  of  things  —  an  infinites- 
imal part  of  which  is  naturally  dramatic.  On 
the  other  hand,  the  human  mind  is  more  of 
a  sieve  than  it  is  a  storehouse. 

Fiction    and    drama    are    creative    arts, 
which  fact  implies  absolute  originality.     We 

35 


THE  UNIVERSAL  PLOT  CATALOG 

create  beauty,  atmosphere,  charm  and  the 
dramatic  story  itself,  but  we  do  not  create 
material — any  more  than  the  sculptor  creates 
the  plaster  and  the  stone  and  the  bronze — 
which  is  merely  the  medium  thru  which  the 
idea  is  interpreted. 

/'  The  imagination  of  the  true  artist  is  a 
caldron  of  ideas.  His  first  stage  of  training 
should  consist  in  learning  how  to  interpret 
ideas  into  such  form  that  they  readily  will 
be  recognized,  appreciated  and  acclaimed 
as  v/orthy  examples.  His  second  stage  of 
training  should  be  in  learning  hov/  to  stim- 
ulate the  wealth  of  his  genius  toward  un- 
limited production. 

First  of  all,  then,  we  must  have  imagi- 
nation. Imagination  needs  but  a  drop  of 
color  to  suggest  an  entire  picture;  it  needs 
but  a  spark  to  start  a  conflagration;  it 
needs  but  a  sigh  to  bring  a  tear;  it  needs  but 
a  deed  to  suggest  a  life;  it  needs  but  a  plot 
germ  to  suggest  a  plot  and  a  plot  to  build  a 
story. 

The  first  injunction  in  the  garnering  of 
plot  material  is,  Do  not  seek  plots,  but  plot 
material.     One  might  as  well  seek  complete 

36 


COMMON  SOURCES  OF  PLOT  MATERIAL 

stories  as  complete  plots.  Both  are  the 
completed  work  of  another.  The  test  of 
your  artistic  ability  will  rest  on  your  crea- 
tive talent.  That  which  someone  else  has 
brought  to  fruition  is  forever  the  property 
of  that  someone  else.  Rarely  we  find  an 
actual  series  of  happenings  in  life  that  fol- 
lows the  laws  of  the  fiction  plot.  To  use 
such  a  sequence — as  thousands  alv/ays  do — 
makes  of  the  user  a  mere  historian,  journal- 
ist or  recorder  of  facts.  The  author  is  a 
recorder,  too,  but  he  sets  down  the  real 
emotions,  not  the  actual  events  of  his 
day  and  generation.  He  who  reads  the 
famous  authors'  records  may  feel  the  mo- 
tives, the  m.oods,  the  real  life  of  those  past 
generations  that  m.oulded  the  heritage  for 
future  generations.  The  mere  facts  or 
actual  happenings  of  other  days  have  become 
curiosities,  interesting  because  of  their  un- 
reality in  the  light  of  Progress.  We  must 
seek  those  plot  elements  that  are  eternal  and 
universal  to  all  men  of  all  time,  and  not 
merely  the  chit-chat  and  flotsam  and  jetsam 
that  are  ephemeral  and  local  with  a  genera- 
tion or  a  nation. 

37 


THE  UNIVERSAL  PLOT  CATALOG 

Any  item  of  material  that  spontaneously 
starts  fictive  creation  or  dramatic  conse- 
quence is  valuable.  Any  item,  note  or 
excerpt  that  preserves  an  emotional  im- 
pression at,  or  near,  the  white  heat  of  its 
original  conception  is  precious.  Any  item 
that  generates  elevating  sentiments,  that 
reproduces  a  beautiful  mental  picture  or 
that  inspires  sublim.e  thoughts  is  a  treasure. 

{EXAMPLE  13.)  I.  {An  article)  "Woman  and  the 
Fading  Maternal  Instinct.'"  2.  {An  advertisement) 
"The  Story  that  Lives  in  Deathless  Melody."  3.  {A 
humorous  picture)  "Bringing  Up  Father."  4.  {An 
editorial)  " Repetition  is  Reputation."  5.  {A  sociological 
report)  "Big  Brothering  Boys  Who  are  in  the  Law's 
Grip."  6.  {On  seeing  a  moito  of  Napoleon  stuck  up 
in  an  office)  "  The  more  I  study  the  world  the  more  am 
I  convinced  of  the  inability  oj  brute  force  to  create  any- 
thing durable."  7.  {On  seeing  the  colored  picture  of 
a  girl  listening  at  the  nwulh  of  the  Sphinx.)  8.  {A 
photograph  of  a  war-ruined  church  with  the  image  of 
Christ  left  intact.)  9.  {A  piece  of  music  containing  a 
hauntifig  strain.)  10.  {A  cartoon  of  the  hideous  giant, 
Wealth,  dangling  humanity  like  puppets  on  a  string.) 

It  is  the  business  of  the  builder  of  literary 
and  dramatic  works  to  go  thru  life  with  his 
five    senses    sensitized.     Above    all    things, 

38 


COMMON    SOURCES    OF    PLOT   MATERIAL 

he  must  cultivate  the  dramatic  ear  and  eye 
that  thresh  out  the  real  deeds  from  the 
actual  events  of  daily  life.  This  does  not 
demand  that  he  be  eternally  on  the  qui  vive 
with  a  pair  of  clipping  shears  in  one  hand 
and  a  pencil  and  note-book  in  the  other. 
There  should  be  a  regular  study  and  work 
period  that  includes  a  review  of  events 
which  would  no  doubt  disclose  impressions 
of  fiction  value. 

{EXAMPLE  13.)  I.  Almost  daily  iJie  prolific  writer 
will  see  "characters''  that  are  worthy  of  record.  2.  In 
some  of  Its  music  awakens  a  glorious  fictitious  pictorial 
strain.  3.  It  is  to  be  hoped  that  some  sister  Art  is 
stimulative  of  original  creation — Painting,  Architecture, 
Drama,  Music,  Sculpture.  4.  A  good  sermon  itivari- 
ahly  starts  new  ideas.  5.  An  original  thought  dropped 
by  someone  in  the  course  of  formal  or  informal  speech  has 
often  been  the  ftucleus  of  an  e.xrelleni  story  or  play. 

Beware  of  the  "true  story."  Almost  in- 
variably it  is  a  recital  of  local  nature  that 
has  deeply  aftected  a  few  individuals,  or  a 
community,  which  would  prove  tame  to  a 
larger  circle  of  humanity  already  weighted 
or  entertained  by  parallel  experiences  of 
their  own.     More  significant  is  the  fact  that 

39 


THE  UNIVERSAL  PLOT  CATALOG 

the  public  airing  of  a  "true  story"  usually 
constitutes  a  serious  breach  of  confidence. 
The  selfish  author  might  bare  a  pitiful 
"skeleton,"  or  disclose  an  annoying  hoax 
on  the  other  fellow. 

Books  and  poetry  are  prolific  sources  of 
fiction  material.  That  nothing  should  be 
taken  "whole  cloth"  is  to  be  understood 
as  a  perpetual  maxim  in  the  search  for  fic- 
tion material.  We  garner  and  file  material 
for  what  it  suggests  of  further  elaboration, 
not  what  it  is  in  its  undisturbed  relations. 
It  is  equally  true  of  all  plot  material  that  we 
base  our  fiction  developments  upon  a  mere 
thread  that  is  cut  away  from  yards  of  con- 
text matter. 

{EXAMPLE  14.)  On  reading  the  works  of  Framis 
Parkman  07ie  is  struck  by  the  almost  miraculous  stoicism 
cf  the  French  fathers.  It  should  suggest  many  stories  along 
parallel  lines.  ...  On  reading  ''The  Autobiography 
of  Benvenuto  Cellini,  "  one  involuntarily  gets  living  ideas. 
...  To  read  of  Napoleon  is  to  court  the  most  charming 
of  the  romantic  muses. 

Poetry  abounds  in  pregnant  phrases. 
For  that  matter,  the  true  poet  puts  a  power- 
ful plot  in  his  few  lines  of  verse.     Invariably 

40 


COMMON    SOURCES    OF    PLOT    MATERIAL 

a  verse  should  suggest  a  story,  or  a  character, 
or  a  situation.  A  single  clot,  made  now  and 
again  on  the  margins  of  books — particu- 
larly of  poetry — containing  picturesque 
phrases  of  extraordinary  suggestiv^e  power, 
is  worth  while.  Later  the  pregnant  phrases 
may  be  garnered  in  a  note-book.  They 
may  prove  equally  valuable  as  plot  germs, 
dramatic  situations  or  attractive  titles. 

{EXAMPLE  15.)  Here  are  ten  iake?i  at  random: 
J.  The  Anvil  of  God.  2.  The  Courage  of  the  Dreamer. 
J.  The  Enemy  Who  Signs  A'O  Truce.  4.  A  Gamble  in 
Futures.  5.  Imaginary  Maticrhorns.  6.  Kingdom, 
Power  and  Glory.  7.  The  Mask  of  Immortality. 
8.  Oh,  For  One  Hour  of  Youth!  g.  The  Quality  of 
Youth.  10.  Sell  All  Thou  Hast.  {What  a  "wealth  of 
plot  material!) 

Plot  material  is  invaluable — upon  one 
condition.  It  must  be  systematized.  You 
will  waste  your  time  in  collecting  material 
in  quantity,  unless  you  go  to  the  further 
initial  trouble  of  putting  it  in  such  uniform 
shape,  by  filing  it  under  specific  heads,  that 
it  may  be  intelligible.  Title  it,  alphabetize 
it,  keep  it  in  uniform  cases  on  uniform  sizes 
of  paper,  group  subjects  together — anything, 

41 


THE  UNIVERSAL  PLOT  CATALOG 

rather  than  let  it  accumulate  in  an  incon- 
glomerate  mass.  Otherwise,  it  will  be  worse 
than  valueless,  by  becoming  a  source  of 
constant  annoyance.  Put  your  items  only 
in  a  loose-leaf  book,  if  you  use  a  book  at  all. 
The  envelope,  card  or  case  systems  are  pref- 
erable. 

You  may  have  devised  a  category  of  your 
own.  Even  so,  it  is  suggested  that  you  make 
a  study  of  the  Plot  Catalog  that  follows 
later,  and  see  if  it  may  not  contain  more 
advantages  than  anything  you  have  yet 
seen.  If  this  be  true,  you  should  make  use 
of  it. 


42 


Plot  Material  is  the  substajice  of  ex- 
perience reduced  in  the  crucibles  of 
Emotion,  Circumstance  and  Fate  to 
the  Essence  of  Life. 

CHAPTER   V 
What  the  Universal  Plot  Catalog  is 

NOT  A  list  of  actual  PLOTS;  POTENTIAL 
RATHER  THAN  EXISTENT;  CHAOS  VERSUS 
system;  a  THESAURUS,  READY  REFERENCE, 
PERPETUAL  STIMULANT,  SPONTANEOUS  COL- 
LECTOR AND  EFFICIENT  FILE;  EMINENTLY 
USEFUL  FOR  EDITORS,  ORATORS,  TEACHERS, 
LIBRARIANS,  NEWSPAPER  MEN,  STATISTI- 
CIANS, PREACHERS  —  AS  WELL  AS  V.'RITERS 
OF   ALL    KINDS. 

SOME  readers  of  this  volume  may  be 
disappointed  in  finding  that  it  does 
not  contain  a  list  of  actual  plots — possibly 
of  all  the  plots  that  have  been  used,  or  even 
all  the  plots  that  ever  can  be  used. 

Of  what  use  v/ould  a  list  of  actual  plots 
be  to  makers  of  original  literature  and  drama? 
If  they  were  plots  conceived  by  me,   they 

A  '^ 


THE  UNIVERSAL  PLOT  CATALOG 

would  forever  be  my  plots.  If  they  were 
complete  plots,  others  could  do  no  more  than 
horroiv  them.  And  if  one  writer  borrowed 
them,  might  not  a  thousand  do  the  same? 

A  list  of  all  the  plots  that  have  ever  been 
used  would  be  historically  interesting  and 
prove  instructive,  without  a  doubt,  but  it 
would  take  many  large  tomes  to  hold  them 
all.  As  for  all  the  good,  complete  plots 
that  are  possible  thru  combinations  of  plot 
material,  that  is  quite  beyond  our  calcula- 
tion, we  are  thankful  to  say.  Therein  lies 
eternal  hope  and  progress  for  the  writer. 

We  are  re-creators,  rather  than  creators. 
By  means  of  contributive  channels  of  in- 
spiration, we  "breathe  in"  pregnant  germs 
of  dramatic  activity  that  incubate  in  the 
imagination  and  are  re-born  as  full-bodied 
plots.  We  must  have  some  food,  then,  for 
the  creative  imagination  to  feed  upon — 
some  personal  experience  warmed  over  in  a 
delicious  mood,  some  redolent  memory  re- 
baked  in  a  savory  fancy,  some  other  man's 
violent  deeds  simm_ered  down  to  a  succulent 
drama,  some  human  whim  or  failure  re- 
hashed into  a  delectable  morsel. 

44 


WHAT    THE    UNIVERSAL    PLOT   CATALOG    IS 

Let  US  suppose,  to  employ  still  another 
simile,  that  all  possible  plot  stimuli  were 
laid  out  in  a  formal  park,  called  the  Garden 
of  Man,  wherein  we  might  stroll  at  will. 
Therein  we  would  find  every  variety  of  life 
that  budded  or  bloomed  within  the  soul 
of  man  from  seed  to  flower,  from  harvest 
and  back  again  to  seed.  Here  we  would 
find  the  fairest  flowers  and  the  foulest  fungi, 
the  richest  harvests  and  the  deadliest 
undergrowths,  rare  bulbs  and  seedlings  and 
rank  grubs  and  cankers,  shade-giving  trees 
and  poisonous  vines,  crystal  brooks  and 
deadly  springs  —  the  garden  of  Eden  and 
the  valley  of  the  Shadow  both  within  its 
walls.  Here  is  a  suggestion  of  all  the  vital- 
ity of  man's  life  and  all  the  horror  of  his 
death. 

Such  a  journey  and  sojourn  is  what  the 
Universal  Plot  Catalog  offers  to  the  imagi- 
native plot  seeker.  It  is  a  progressive  cate- 
gory of  Man — his  vicissitudes,  his  desires, 
his  relationships  and  his  struggles — in  which 
all  dramatic  conflict  and  plot  material  in  the 
universe  find  their  source,  life  and  end. 

All  that  vitally  concerns  m.an  vitally  con- 

45 


THE  UNIVERSAL  PLOT  CATALOG 

cerns  fiction  arid  drama — it  is  fiction  and 
drama. 

Instead  of  a  chaotic  dictionary  of  man's 
daily  experience  expressed  in  a  billion  signs 
of  negligible  action,  we  are  offered  a  concise 
thesaurus  of  eternal  human  life  suggested 
in  terms  of  vital  emotion.  Here  we  may 
not  seek  the  exact  v/ord  and  act,  upon  which 
to  build  a  paragraph  or  a  composition,  but 
the  suggestive  thought  or  relationship  with 
which  to  re-create  a  human  soul  or  a  seg- 
ment of  life. 

Most  of  us  meet  hundreds  of  our  fellow 
men  in  daily  contact,  yet  how  much  do 
we  learn  of  one  of  them  that  reveals  his 
real  inner  life?  But,  lay  bare  the  soul  of 
a  single  fellow  creature  and  the  fiction  artist 
would  find  material  for  a  score  of  emotional 
canvasses.  The  Plot  Catalog  is  designed 
to  lay  bare  the  soul  of  Everyman  and  reveal 
the  Thousand-and-One  Nights  Entertain- 
ments  that  have  thrilled  the  inner  Temple. 

(EXAMPLE  i6.)  The  iruih  of  the  foregoing  is 
realized,  sooner  or  later,  by  the  inspired  creator  of  fiction 
or  drama.  He  comes  to  learn  that  the  drabbest  or  shallow- 
est, the  most  phlegmatic  or  the  most  immovable  of  creatures 

46 


WHAT  THE  UNIVERSAL  PLOT  CATALOG  IS 

need  but  a  rare  dominant  note  to  rouse  music  in  their 
hearts,  or  a  certain  personal  spark  to  strike  fire  in  their 
souls.  Behind  their  curtains  of  uninteresting  exteriors 
there  sits  enthrofied  tn  their  souls  a  resplendent  figure 
that  may  be  Desire,  Creed,  Affection,  Religion,  or  By- 
gones that  will  rise  in  sublime  might,  or  crouch  in  bestial 
ferocity  when  the  proper  incentive  is  cast  at  its  head. 
According  to  the  same  principle  of  human  perversity  it 
has  been  said  that  "every  man  has  his  price." 

Not  only  is  the  Plot  Catalog  a  treasury  of 
suggestive  data  but,  because  of  the  progres- 
sive arrangement  in  organic  units,  it  becomes 
a  ready  reference  to  all  relative  matter. 
This  is  made  possible  by  means  of  a  com- 
plete alphabetical  index  locating  every  sub- 
ject under  as  many  heads  as  it  appears,  with 
frequent  cross-indexing.  In  this  way  a 
given  subject  in  its  broadest  or  most  infinites- 
imal phase  may  be  located  instantly. 

The  progressive  and  organized  synthesis 
and  analysis  of  relationships  are  bound  to 
act  as  constant  stimuli  to  the  mind  seeking 
new  combinations  and  divisions  of  human 
activity  and  to  the  imagination  relying  on 
live  inspiration  and  emotions.  Simulta- 
neously, it  makes  of  itself  a  spontaneous 
collector  of  new  plot  material,  evolving  it 

47 


THE  UNIVERSAL  PLOT  CATALOG 

automatically  by  and  within  itself.  Thus 
the  inert  mind,  the  fagged  imagination  and 
the  stagnant  fancy  may  come  to  view  it 
as  a  purgative,  a  stimulant  and  a  tonic. 

The  Universal  Plot  Catalog — and  its 
invaluable  auxiliary,  the  Plot  File  and  Col- 
lector— is  of  value  to  others  than  creatqtrs 
of  Fiction  and  Drama.  Editors  are  daily 
importuned  to  employ  facts,  fiction  or  fancy 
in  some  new  relationship  in  order  to  keep  up 
the  killing  pace  of  out-doing  competitors 
in  novelty  and  spicing  the  .satiety  of  the 
blase  public.  Their  positions  often  depend 
on  a  perpetual  succession  of  new  ideas. 

Orators  will  find  themselves  growing 
"stale"  unless  they  supply  their  imaginations 
with  new  ideas  drawn  from  man's  probable 
and  possible  experiences  which  they  weave 
into  the  spoken  word  pointed  with  dramatic 
fire,  intimate  anecdotes,  picturesque  phrases, 
interesting  stories  and  emotional  appeal.  A 
perusal  of  the  Catalog  should  prove  an  in- 
evitable freshener  of  thought. 

Teachers  are  not  even  useful  in  the  exer- 
cise of  their  professions  unless  they  are  ca- 
pable of  interpreting  problems,  lessons  and 

48 


WHAT    THE   UNIVERSAL    PLOT   CATALOG    IS 

tasks  into  practical  solutions,  living  exam- 
ples and  familiar  answers,  all  expressed  in 
terms  of  universal  experience.  Universal 
experience  is  the  basis  of  common  under- 
standing. The  progressive  teacher  will  em- 
ploy the  Catalog  both  as  a  stimulant  for 
novel  presentation  and  as  a  collector  and 
file  for  interpretive  material. 

Librarians  are  always  looking  for  liter- 
ature to  create  or  to  supply  every  inquiry, 
doubt  and  fancy  that  might  or  should  tenant 
the  human  mind.  They  would  find  the 
Catalog  valuable  in  suggesting  new  cate- 
gories of  subjects,  articles  and  books.  A 
file  used  in  accordance  with  the  Catalog 
would  enlarge  their  own  reference  records  to 
cover  the  whole  Life  of  humanity,  as  well 
as  the  Literature  of  man. 

Newspaper  Men  must  constantly  supply 
their  superiors  with  news,  or  be  listed  for 
ultimate  dismissal.  News  is  not  merely  a 
recital  of  the  daily  hum-drum  of  existence. 
The  reporter,  editorial  writer,  special  article 
writer,  editor,  caption  writer  or  special  cor- 
respondent must  present  his  news  in  a  new 
way,  from  a  new  angle,  with  a  new  twist.    The 

49 


THE  UNIVERSAL  PLOT  CATALOG 

Catalog  will  not  only  supply  these  writers 
with  infinite  subject  matter  for  new  material 
but  it  will  suggest  every  angle  of  human 
relationship.  A  file  would  become  a  literal 
gold  mine. 

Statisticians  by  profession,  and  those  of 
us  who  make  a  hobby  of  collecting  statistical 
data,  informative  records,  literary  odds  and 
ends,  anecdotes,  jokes,  poems,  personal 
material  and  memoranda  will  find  the  Cat- 
alog, in  conjunction  with  the  file,  excellent 
as  a  reference  and  container. 

The  Preacher  is  the  Interpreter  of  God  in 
terms  of  Man.  Texts  are  abundant,  but 
their  relationship  to  man's  life  and  expe- 
rience are  not  so  plentiful.  Hence  the  dull 
sermons  that  fail  to  divert  the  modern  mind 
seeking  new  thoughts  or  fixed  upon  selfish 
interests.  The  Catalog  dissects  man  and 
sorts  out  his  elementary  construction  in  a 
way  that  reveals  his  emotions  in  the  making. 
The  opportunity'  is  offered  on  every  side  to 
apply  the  argument  of  welfare  to  his  soul 
and  trace  the  relationship  to  his  Creator. 
The  single  sub-division,  The  Soul  of  Man, 
should  occupy  the  attention  of  every  preacher. 

50 


The  writer  of  literature  or  drama  must 
become  the  historian  of  the  prehistoric 
man,  have  a  finger  on  the  pulse  of  the 
ma?i  in  love;  be  on  speaking  terins 
with  the  famous  man;  have  a  bowing 
acqtiaintance  with  the  kings  of  men; 
understand  the  impulses  of  the  man 
steeped  in  crime;  suffer  with  man  at 
his  death,  arid  commune  with  7nan 
after  death. 

CHAPTER   VI 

The  Scope  of  the  Catalog 

man;  his  vicissitudes  and  his  desires, 
his  relationships  and  his  struggles; 
the  plot  of  the  plot  catalog;  a  com- 
PLETE cycle;  the  LINE  OF  PROGRESSION; 
THAT  WHICH  IS  NOT  MAN;  ENDING  WITH 
THE    BEGINNING. 

THE  whole  of  the  Universal  Plot  Catalog 
is  cast  under  a  single  grand  division — 
Man.  By  Man  we  mean  mankind — all 
humanity.  We  writers  and  readers  being 
men  with   understandings   that  are  limited 

51 


THE  UNIVERSAL  PLOT  CATALOG 

by  human  comprehensions,  it  follows  that 
our  expression  must  be  in  the  terms  and  sym- 
bols of  mankind,  tho  we  interpret  the  soul 
of  a  star,  the  voice  of  an  angel,  the  trials  of 
a  camel,  the  sighs  of  the  wind  or  the  life  of 
a  tree. 

Our  success  in  translating  essence  into 
substance  is  measured  by  the  quantity  of 
universal  Man  or  the  quality  of  Human 
appeal  our  product  contains.  The  zenith 
of  artistic  appeal  is  attained  when  the 
reader,  listener  or  beholder  may  pause, 
close  his  eyes  and  commune  with  his  soul, 
saying,  "This  is  I."  Then  we  have  suc- 
ceeded in  realizing  true  Art — or  artistic 
Truth — by  translating  essence  into  sub- 
stance that  is  again  transmuted  into  es- 
sence ! 

In  seeking  to  discriminate  between  the 
actual  existence  of  man  and  his  real  life, 
we  find  the  latter  divided  into  four  vital 
categories — Vicissitudes,  Desires,  Relation- 
ships and  Struggles.  These  are  in  themselves 
progressive  and  cyclical.  Man's  real  life 
is  evidenced  by  a  vicissitude,  which  is  soon 
stirred  by  desires,   which   lead   to  relation- 

52 


THE    SCOPE    OF    THE    CATALOG 

ships,  which  are  followed  by  inevitable 
struggles,  which  bring  him  back  to  a  new 
vicissitude  to  begin  the  cycle  all  over  again. 

Our  first  grand  sub-division,  then,  is 
Vicissitude.  The  natural  beginning  is  that 
of  Origin  (A).  But  no  sooner  do  we  find 
man  existent  than  we  see  him  filled  with 
Aspiration  (B).  Then,  with  his  aspirations 
but  half-blown  we  behold  him.  snatched  up 
by  Destiny  (C),  which  decides  and  settles 
his  fate.  Briefly,  that  is  the  beginning  and 
the  end  of  man.  We  have  seen  him  lifted 
into  being  from  behind  a  dim  veil  called  the 
eternal  Past  and  placed  again  behind  a  dim 
veil  called  the  eternal  Future.  From  dust 
he  came  and  to  dust  he  returns. 

But,  while  he  lingered  his  brief  hour  within 
the  pale  of  humanity,  we  saw  him  now  and 
again  swept  aside  from  the  grim  treadmill 
of  life  by  the  whimsical  hand  of  Humor 
(D),  in  the  diversion  of  laughing  or  weeping. 
Here  we  find  man  most  himself,  the  individ- 
ual, delighted  or  devoured  by  his  own  per- 
sonality. 

There  remains  but  one  possible  vicissitude, 
which    is    that    of    Not    Being    Man.     For, 

53 


TIIE    UNIVERSAL    PLOT   CATALOG 

there  are  all  creation  and  creatures  to  be 
reckoned  with  in  the  broad  fields  of  artistic 
expression.  Life  would  be  shallow  indeed 
to  relegate  all  real  life  within  the  soul  of 
man  alone. 

In  Origin,  we  find  the  Vicissitudes  of 
Creation  and  Re-Creation.  Aspiration  is 
tainted  with  the  Vicissitudes  of  Passion  and 
Deterioration.  Destiny  is  purged  and  ele- 
vated again  by  the  Vicissitudes  of  Inquiry 
and  the  Infinite.  Humor  is  swayed  by  the 
Ridiculous  and  the  Sublime.  Not-Man  may 
again,  in  any  presentment  in  all  creation, 
run  the  whole  gamut  of  human  vicissitudes. 

We  arrive  at  our  minor  sub-divisions. 
The  first  is  that  of  The  Nature  of  Man  (I), 
under  Creation.  Under  Re-Creation  we 
find  The  Heart  of  Man  (II),  just  as  it  is 
under  the  benign  spirit  of  love  that  man  re- 
creates in  his  own  image.  Once  man's 
nature  is  established  then  his  sentiments 
begin  to  take  root. 

Aspiration  immediately  follows  man's 
heart,  and  under  Passion  we  find  first  The 
Ambition  of  Man  (III)  that  aims  and  leads 
toward  The  Might  of  Man  (IV).     Once  might 

54 


THE   SCOPE   OF    THE    CATALOG 

is  attained,  Deterioration  sets  in,  first,  in 
The  Character  of  Man  (V),  finally  in  The 
Flesh  of  Man  (VI). 

Destiny  manifests  itself  first  thru  Inquiry 
in  The  Mind  of  Man  (VII),  and  secondly, 
reaches  the  ultimate,  in  the  Infinite,  thru 
The  Soul  of  Man  (VIII). 

Both  the  Ridiculous  and  the  Sublime 
are  called  for  thru  The  Emotions  of  Man 
(IX). 

In  detail  we  see  the  crescendo  course  of 
man.  First  of  all  Man's  actual  Desire  for 
Existence,  which  naturally  introduces  his 
Relations  with  Creation  and  a  consequent 
Struggle  for  Individuality.  The  moment 
his  individuality  is  vSet  up  he  becomes  con- 
scious of  a  Desire  for  Happiness  which  leads 
to  his  Relations  with  Woman  and  ends  in 
his  Struggle  for  his  Family. 

Now  he  has  settled  down  to  the  business 
of  life  and  there  creeps  into  his  being  a 
Desire  for  Position,  which  entails  certain 
Relations  with  Society  that  involve  him 
in  the  Struggle  for  Achievement.  Achieve- 
ment alone  is  not  sufficient  and  there  rises 
the  Desire  for  Supremacy  which  brings  about 

55 


THE  UNIVERSAL  PLOT  CATALOG 

Relations  with  Antagonists  who  are  equally 
ferocious  in  the  Struggle  for  Power.  Power 
once  attained,  man's  Desire  for  Luxury  crops 
up  and  involves  him  in  Relations  with 
Morality  and  brings  about  a  sinister  Struggle 
against  Sin.  Enter  Sin  and  a  new  passion 
becomes  paramount — his  Desire  for  Health, 
that  vice  has  undermined,  bringing  painful 
Relations  with  Disease  and  the  losing  Strug- 
gle against  Death. 

But  there  are  higher  gifts  than  the  flesh  of 
man.  He  has  his  mind  to  sustain  him  under 
trials  and  there  is  his  soul  which  has  a 
destiny  even  beyond  this  v/orld.  Thus  we 
turn  to  man's  Desire  for  Knowledge  and 
watch  his  Application  of  Reason  and  follow 
his  Struggle  against  Ignorance.  Thruout, 
there  has  been  his  ever-present  Desire  for 
Divinity,  or  his  Relations  with  his  God, 
that  meant  a  constant  Struggle  for  his 
Religion.  Man  has  been  created  and  re- 
turned to  his  Creator. 

All  the  foregoing  represents  man  as  he  is 
seen  by  his  fellows;  there  remains  that  inner 
life  of  the  emotions  that  he  feels  himself 
only.     Those  of  us  who  have  become  burnt- 

56 


THE    SCOPE    OF    THE   CATALOG 

out  husks  thru  the  buffetings  of  life  reveal 
uiiguessed  vitality  \vhen  Impassioned  by 
the  Domination  of  the  Ludicrous,  or  by 
the  Stimulation  of  Diversion,  or  by  Partici- 
pation in  Pleasure  or  by  the  Stress  of  Pathos. 
It  is  the  law  of  nature  that  revives  spent 
tissues  thru  diversion,  relaxation  and  recrea- 
tion. Writers,  especially,  will  do  well  in 
giving  heed  to  it. 

Finally,  we  turn  to  all  that  is  not  man, 
and  by  means  of  imagination  endow  this 
extra-humanity  with  humanness  thru  Per- 
sonification. This  includes  the  Humanizing 
of  AH  Creation,  Creatures  and  Mythology 
and  the  Appropriation  of  their  Phenomena 
as  Dramatic  Material. 

The  sub-dividing  of  the  minor  sub- 
divisions may  become  almost  infinite  in  its 
scope,  still  the  progression  is  as  simple  and 
effective  as  is  that  of  all  the  other  divisions. 
We  have  endeavored  to  include  all  essential 
suggestion.  In  each  case  we  begin  with 
Origin  and  close  with  Destiny.  We  round 
out  cycles  which  themselves  are  within 
cycles.  Beginning,  as  it  were,  with  the 
infinite,  deducing  the  finite,  but  closing  with 

57 


THE   UNIVERSAL   PLOT   CATALOG 

the  inevitable  infinite.     It  is  the  course  of 
all  things  human ! 

Thus  in  sub-minor-division  i.  PRIMEVAL 
(Prehisioric)  we  grope  about  among  the  dim 
perceptions  of  the  awakening  of  drama  in 
humanity  and  find  it  in  the  half-human, 
half-divine  Mythology  that  knits  man  with 
God  and  makes  earth  His  footstool.  The 
last  sub-minor-division,  lOO,  is  MYTHOL- 
OGY (Not  Man  or  Beast) ,  and  the  last  trail- 
ing divisions  under  that  head  arc:  (w) 
Primeval  and  (x)  Prehistoric!  Thus  Man 
has  returned  again  to  his  nebulous  status 
that  is  both  his  remotest  past  and  his  most 
advanced  future. 


58 


Tangible  Experience  is  the  Interpreter 
of  Unutterable  Life;  it  is  the  Lan- 
guage of  the  Soul  tra?islated  hito  the 
Vocabulary  of  the  Body;  the  Word 
of  the  Person  that  reveals  the  Thought 
of  the  Personality. 

CHAPTER   VII 

How  TO  Use  the  Plot  Catalog 

A  PRACTICAL  DEVICE,  NOT  A  THEORETICAL 
contrivance;  the  automatic  PLOT  COL- 
LECTOR AND  FILE;  HOW  ONE  MAY  BE 
MADE ;  FILED  ACCORDING  TO  THE  PREDOM- 
INANT PHASE  ;  HOW  TO  AVOID  CONFUSION  ; 
ALL  DIVISIONS  ARE  POTENTIAL;  PRACTICAL 
ILLUSTRATIONS. 

CONSTRUCTING  the  Plot  Catalog  in- 
volved the  simple  task  of  taking  the 
meat  out  of  life.  Creating  fiction  or  drama 
consists  of  the  difficult  process  of  recon- 
structing a  unit  of  life  out  of  a  piece  of  the 
aforesaid  meat. 

As  we  have  said,  the  Plot  Catalog  has  tvv^o 
practical  uses.     The  first  is  that  of  a  stimu- 

59 


THE  UNIVERSAL  PLOT  CATALOG 

lus  of  thought  and  imagination.  The  second 
is  that  of  a  file — or  containing  record — of 
resultant  ideas  and  similar  material  already 
in  hand. 

Our  contention  is,  that  an  intelligent 
writer  may  take  up  the  Catalog  with  an 
earnest  desire  to  imbibe  an  idea  and  succeed 
in  his  desire.  We  assume,  for  the  moment, 
that  he  has  not  an  idea  in  his  head.  His 
mind  is  blase  with  stray  thoughts,  thread- 
bare ideas,  trite  plots  and  other  people's 
stories. 

Any  single  word  in  the  Catalog  taken, 
with  no  regard  to  context,  is  as  meaningless 
as  a  sentence  from  a  book,  or  a  line  of  dialog 
from  a  play.  Thus  any  division,  or  sub- 
division, of  the  catalog  is  studied  with  due 
regard  to  its  relationships.  It  becomes  as 
it  were  a  peep-hole  thru  which  we  view  a 
given  group  at  a  certain  angle.  The  view 
is  never  the  same  twice.  Now  we  view 
man  thru  the  haze  of  distance,  now  in  the 
clear  light  of  perfect  focus,  now  in  the 
blurred  image  of  close  proximity.  Let  us 
give  a  practical  demonstration  of  the  value 
of  the  Catalog: 

60 


HOW  TO  USE  THE  PLOT  CATALOG 

Our  writer  may  peruse  the  Catalog,  be- 
ginning with  Man,  proceed  thru  A  and  get  to 
the  very  end  of  I,  before  he  feels  the  slightest 
stimulation.  "Struggle  For  Individuality!" 
There  is  an  idea.  What  does  it  mean? 
It  involves  the  very  Nature  of  Man.  It  is 
one  of  the  Vicissitudes  of  Creation.  It  is 
actually  Man  himself. 

Our  writer  is  interested.  His  sluggish 
mind  has  awakened.  He  wants  something 
more  specific.  He  consults  the  index  and 
finds  that  Individuality  is  further  mentioned 
under  1-8.  He  finds  8  teeming  with  sug- 
gestive developments.  The  sub-division  it- 
self—PERSONALITY  (5e//)  —  begins  to 
marshal  his  crowding  ideas.  The  minor  sub- 
divisions bring  him  yet  closer  to  his  specific 
plot  material.  Each  one  lights  the  way: 
(a)  Individuality,  (b)  Identity,  (c)  Name, 
(d)  Egotism,  (e)  Optimism,  (f)  Content- 
ment, (g)  Subconscious.  He  feels  an  in- 
creasing potentiality,  as  tho  with  little  or  no 
imaginative  effort  he  could  fill  out  a  complete 
picture  from  each  one.  Then  he  strikes  the 
spark  that  ignites  the  gathered  sweepings 
of   his   mind — (h)   Dual    Personality.     That 

6l 


THE    UNIVERSAL   PLOT   CATALOG 

is  the  open  sesame.  Just  why,  is  not  yet 
quite  clear.  His  eye  follows  the  line  of  pro- 
gressive sub-divisions — PRIMEVAL,  etc. 
He  pauses  at  2.  BIRTH  {Origin) — that  con- 
tributes data.  5.  MAN  or  6.  WOMAN? 
He  prefers  that  it  be  a  man.  7.  CONDI- 
TION— that  bears  further  investigation. 
He  runs  his  eye  down  the  list:  (a)  Poverty, 
(b)  Peasant,  (c)  Clod,  (d)  Slave!  He  is 
filled  with  a  feeling  of  exultation.  He  has 
his  story.  It  is  to  be  the  tale  of  a  slave — 
in  som.c  way.  Another  link  or  two  and  the 
plot  will  be  com.plete.  9.  RACE.  There  is  his 
man — (b)  Black.  One  more  hint  is  found  in 
10.  CUSTOMS  (Cotiveniions)  of  (b)  Society. 
Our  next  step  suggests  itself.  It  implies 
the  possession  of  a  Plot  Collector  and  File. 
We  see  that  all  data  we  have  will  be  found 
in  container  13*.  There  may  be  a  quantity 
of  clippings:  "White  Babes  Turn  Black;" 
"Negro  Indorsed  for  Judge;"  "Mob  Kills 
Negro  in  Jail;"  "The  Black  Madonna;" 
"200  Going  Back  to  Africa,"  and  "His 
Wealth  Could  not  Make  Him  White." 
For  reasons  of  our  own,  this  last  is  what  we 
want.     We  have  all  our  data.     We  had  not 

62 


HOW   TO   USE   THE    PLOT   CATALOG 

an  idea  to  begin  with.  We  now  set  to  work, 
suddenly  realizing  that  all  the  data  in  the 
world  will  not  make  a  story  or  a  play  with- 
out the  master  mind  behind  it.  We  began 
with  the  realization  that  the  master  builder 
was  decidedly  out  of  a  job  without  a  plot 
to  build  upon. 

{EXAMPLE  17.)  The  complete  resultant  plot  from 
the  above  is,  ifi  brief:  A  young  educated  negro  tries  to 
raise  his  station  to  the  level  of  his  mind  and  fails — the 
white  man  is  still  the  white  matt,  the  black  the  black, — • 
it  is  the  nature  of  man  bound  by  the  unbreakable  shackles 
of  conventioti — when  he  is  almost  on  the  verge  of  tragedy, 
the  very  barrier,  the  negro  blood  within  him,  saves  him 
by  giving  him  a  savage  enjoyment  in  some  barbaric 
melody  and  %vith  it  returns  tlie  devil-may-care  spirit  of 
his  race — his  soaring  spirit  falls  back  to  caste,  bruised 
and  bleeding,  beaten  by  creation  itself. 

Each  man  is  a  law  unto  himself,  when  it 
comes  to  creation.  Perhaps  the  minds  or 
imaginations  of  no  two  of  us  would  have 
been  stimulated  by  Man's  Struggle  for  In- 
dividuality. Granted,  that  another  writer 
should  feel  the  same  stimulus,  it  is  quite 
unlikely  that  he  would  have  pursued  any- 
thing like  the  same  process  of  seeking,  find- 
ing or  arranging  its  development. 

63 


THE  UNIVERSAL  PLOT  CATALOG 

Thus  we  touch  upon  the  very  core  of  the 
Catalog's  universality,  its  flexibility,  its 
breadth  of  personal  application.  The  Cata- 
log is  no  deeper,  broader  or  higher  than  the 
student  who  employs  it.  It  contains  for 
him  nothing  that  is  not  already  within  him. 
All  it  can  do  is  to  parole,  unchain  and  set 
free  the  vagrant  impressions  that  have 
swarmed  the  court  of  experience  to  be  sen- 
tenced for  life  in  the  prison  house  of  his 
soul,  or  have  crowded  and  been  left  uncon- 
sidered in  the  dungeons  and  cells  of  his 
nether  mind. 

The  Plot  File  and  Collector  is  such  an 
important  adjunct  and  logical  sequence  to 
the  Catalog  that  the  serious  student  has 
scarcely  an  alternative,  other  than  providing 
himself  with  one.  With  the  Catalog  in 
hand,  the  File  is  a  simple  matter. 

The  student  will  find  a  Universal  Plot 
File  and  Collector  advertised  in  this  book. 
It  is  recommended  for  several  important 
reasons,  altho  a  duplicate  file  of  the  same 
dimensions  may  be  manufactured  by  the 
student  himself,  if  he  is  so  inclined. 

First,  there  is  a  filing  case,  made  of  strong. 

64 


HOW   TO   USE   THE   PLOT   CATALOG 

cloth-covered  board,  tho  light  in  weight.  The 
case  is  designed  to  hold  two  hundred  contain- 
ers. The  inside  dimensions  are:  height,  4^ 
inches ;  breadth,  9^  inches  ;  length,  18  inches. 

Next  come  the  containers,  which  are  in  the 
form  of  special  envelopes  open  at  the  side, 
giving  maximum  accessibility.  They  are  made 
of  extra  heavy  kraft  paper,  very  tough  and 
durable,  and  with  ordinary  usage  will  last  a 
life  time.  The  dimensions  of  the  containers 
are:   depth,  4  inches;  length,  9>j  inches. 

A  single  case  has  sufficient  capacity  to  meet 
the  requirements  of  most  users  for  an  indefi- 
nite period.  Other  cases  may  be  added  accord 
ing  to  the  needs  of  the  collector,  without  dis- 
organizing the  system.  The  cases  are  compact 
enough  to  be  kept  without  trouble  within  the 
reach  of  the  writer — on  top  of  a  desk,  book- 
case or  shelf.  On  adding  the  second  case,  it  is 
customary  to  transfer  enough  of  the  envelopes 
or  containers  from  the  first  case  to  care  for 
the  overflow,  leaving  the  rest  of  the  space  to  be 
occupied  by  new  containers,  which  may  be 
ordered  as  needed.  The  cases  have  a  label 
holder  on  each,  and  may  be  marked  "A," 
"B,"   etc.,    by   the    user.      As    his  collection 

65 


THE  UNIVERSAL  PLOT  CATALOG 

expands  the  writer  merely  adds  cases.  Thus 
there  is  no  limit  to  the  File's  ultimate  con- 
tents. The  two  cases  hold  approximately 
10,000  to  15,000  uniform  items. 

There  are  ten  sections  among  the  two  hun- 
dred containers,  each  section  corresponding 
with  a  Division  (identified  by  Roman  nu- 
merals). Each  section  has  a  color  of  its 
own  so  that  the  containers  will  always  be 
clearly  defined  in  the  cases  and  confusion 
will  be  avoided.  Furthermore  each  container 
bears  its  individual  number  to  correspond 
with  the  starred  (i*,  2*,  etc.)  numbers  that 
identify  the  groups  of  minor-divisions. 
The  containers  themselves  also  may  be 
expanded  indefinitely  by  adding  containers 
where  necessary  and  amplifying  the  starred 
numbers,  as:  i*-a,  i*-b,  etc.  These  are 
located  by  the  original  starred  numbers. 
Or,  those  subjects  contained  in  overflow 
containers  may  be  definitely  indicated  in 
the  index  by  adding  the  identifying  number 
with  pen  or  pencil.  In  case  of  additional 
envelopes,  it  is  suggested  that  a  list  of  sub- 
jects contained  within  shall  be  typed  on  the 
outside. 

66 


HOW  TO  USE  THE  PLOT  CATALOG 

The  "system"  of  the  Plot  File,  however, 
may  be  applied  with  equal  efficacy,  without 
the  afore-mentioned  outfit  with  its  specific 
dimensions.  We  may  mention  the  card 
filing  system,  which  merely  requires  guides 
bearing  the  starred  numbers.  The  cards 
may  bear  the  plot  material,  either  typed  or 
pasted  on.  Again,  there  are  the  various 
loose-leaf  books  which  have  a  wide  range  of 
sizes.  Each  book  might  represent  a  starred 
number  and  become  equivalent  to  a  con- 
tainer. An  index  could  otherwise  be  in- 
serted. 

There  are  other  "home-made"  devices 
that  can  be  made  to  serve  the  general  pur- 
pose. Ordinary  envelopes,  for  instance, 
properly  numbered  and  kept  in  their  original 
paste-board  box,  make  a  file  that  will  serve 
for  a  time  at  least,  at  a  cost  of  about  twenty- 
five  cents. 

Not  infrequently,  the  collector  may  be 
perplexed  as  to  which  classification  a  given 
item  of  material  may  properly  belong.  In 
reply  to  this,  we  will  say  that  all  plot  matter 
must  be  viewed  thru  its  predominant  phase, 
or  the  phase  that  is  most  striking  in  its  im- 

67 


THE  UNIVERSAL  PLOT  CATALOG 

pression  or  workable  possibilities.  The  view- 
point, or  workability,  of  a  clipping  is  paral- 
leled by  the  larger  division  captions  under 
which  it  shall  be  filed. 

(EXAMPLE  i8.)  We  find  this  clipping:  ''POD" 
ENTERS  BERLIN  IN  HIS  NIGHTSHIRT— Popu- 
lar General's  Ludicrous  Adventure  on  A  Sleeping  Car. 
Instantly,  ive  feel  that  here  is  a  character.  That  which 
impresses  us  immediately  is  a  good  guide.  We  consult  in- 
dex and  find:  Character — V. — 4Q,7s,gi,Q4.  This  is  an 
exception;  four-fifths  of  the  subjects  have  but  one  refer- 
ence. 4Q.  discloses  that  xve  have  invaded  the  Vicissitude 
of  ASPIRATION,  thence  to  V.—THE  CHARACTER 
OF  MAN,  narrowed  down  to  49.  QUALITIES.  Not 
what  we  want.  7J.  we  find  under  DESTINY,  THE 
MIND  OF  MAN,  DERANGEMENT.  There  it  is, 
(a)  "Character,"  just  what  we  want.  If  there  is  any 
doubt  we  continue  our  search  and  find  gi,  HUMOR — 
EMOTIONS— FARCE.  No,  Pod,  seemed  too  pathetic 
for  farce.  Again  94,  under  PA  THOS,  seemed  too  tragic 
and  we  revert  to  DERANGEMENT,  our  first  impression. 

Some  of  the  minor  classifications  may 
strike  the  student  as  being  far-fetched. 
This  comment  is  best  answered  by  the  fact 
that  in  nine  cases  out  of  ten  actual  mate- 
rial in  hand  suggested  the  classification, 
rather  than  that  classification  assumed  the 
existence    of    consequent    material.     Every 

68 


HOW    TO   USE   THE    PLOT   CATALOG 

phase  of  the  Catalog  is  practical,  having 
been  experimentally  perfected  over  a  period 
of  four  years  thru  the  medium  of  more  than 
five  thousand  items  of  plot  material.  It 
was  thru  this  means  alone  that  the  approx- 
imate bulk  of  each  container  could  be  cal- 
culated. 

{EXAMPLE  IQ.)  Five  of  the  seemingly  most  un- 
dramatic  minor  divisions  are  "materialized"  thru  actual 
material  in  hand  in  the  follovjing  manner:  j.  TIME, 
(p)  Endurance — EDITORIAL,  "There  is  great  power 
in  Repetition;"  ii.  FRIENDSHIP,  (a)  Altruism— 
SPECIAL  ARTICLE— "Big  Brothering  Boys  Who 
Are  In  the  Law's  Grip;"  pS-  NATURE  (p)  Night— A 
POEM—  "Evenings;"  i.  PRIMEVAL  (/)  Egyptians 
— A  PICTURE  from  an  advertisement  of  a  pretty  girl 
listening  at  the  closed  lips  of  the  Sphinx;  60.  DISEASE, 
(0)  Pain — An  ESS  A  Y  zvith  the  same  title,  taken  from  a 
popular  magazine. 

(EX A  MPLE  20. )  A  few  stories  by  well-known  authors 
are  classified  under  like  "undramatic"  headings:  "Tim 
and  Nemesis,"  by  James  Adams — 2Q.  (e)  Nemesis; 
"Three  Dreams,"  by  Hugh  Black — 72.  (h)  Dreams; 
"Van  Suydan— Caveman,"  by  Berton  Braley — /.  (e) 
Cave  Man;  "  The  Enchanted  Bluff, "  by  Willa  Sibert 
Catker — pj.  (a)  Mountains;  "The  Doodle  Bug," 
by  George  Randolph  Chester — pp.  (x)  Miscellatieous 
(ANIMALS);  "Shark,"  by  Richard  Washburn  Child- 
go.  («)  Shark;   "The  Father' n  Motlier  Tree,"  by  Annie 

69 


THE  UNIVERSAL  PLOT  CATALOG 

Hamilton   Dojinell—gS.    {g)    Tree;     "The    Wind,"   hy 
Zoe  Anderson  N orris — pj.     (g)  Winds. 

In  concluding,  we  hark  back  to  the  great 
truth  underlying  all  art:  The  greater  virtue 
lies  not  in  the  art  works  themselves — they 
are  but  clay  or  pigment,  words  or  gestures — 
but  in  their  power  to  suggest  the  inner 
vision,  that  is  of  the  soul. 


70 


Chaos  is  the  forerunner  of  panic; 
Order  is  the  herald  of  power — and  la 
him  with  controlled  power  God  denies 
nothing! 

CHAPTER  VIII 

The  Universal  Plot  Catalog — I 

A  PROGRESSIVE  CATEGORY  OF  MAN — HIS 
VICISSITUDES,  HIS  DESIRES,  HIS  RELATION- 
SHIPS  AND    HIS    STRUGGLES IN    WHICH    ALL 

DRAMATIC  CONFLICT  AND  PLOT  MATERIAL  IN 
THE  UNIVERSE  FIND  THEIR  SOURCE,  LIFE  OR 
END. 

MAN 
(Meaning  Mankind) 

A. — ORIGIN. — The  Vicissitudes  of 
Creation  and  Re-creation 

I.    The  Nature  of  Man. 

Man's  Desire  for  Existence,  his  Re- 
lations with  Creation  and  his  Strug- 
gle for  Individuality. 

(Sub-Divisions  i  to  lo.)     (Filing 
Containers  I*  to  14*.) 

71 


THE    UNIVERSAL    PLOT   CATALOG 

II.    Tlie  Heart  of  Man. 

Man's  Desire  for  Happiness,  his 
Relations  with  Woman  and  his 
Struggle  for  his  Family. 

(Sub-Divisions  II  to  20.)     (Filing 
Containers  15*  to  38*.) 


B.— ASPIRATION.— The  Vicissitudes 
OF  Passion  and  Deterioration 

III.    The  Ambition  of  Man. 

Man's  Desire  for  Position,  his  Re- 
lations with  Society  and  his  Strug- 
gle for  Achievement. 

(Sub-Divisions  21   to  32.)     (Fil- 
ing Containers  39*  to  61*.) 

IV.    The  Might  of  Man. 

Man's  Desire  for  Supremacy,  his 
Relations  with  Antagonists  and  his 
Struggle  for  Power. 

(Sub-Divisions  33  to  46.)     (Fil- 
ing Containers  62*  to  86*.) 
72 


THE  UNIVERSAL  PLOT  CATALOG — I 

V.    The  Character  of  Man. 

Man's  Desire  for  Luxury,  his  Rela- 
tions with  Morality  and  his  Strug- 
gle against  Sin. 

(Sub-Divisions  47  to  56.)     (Fil- 
ing Containers  87*  to  125*.) 

VI .    The  Flesh  of  Man. 

Man's  Desire  for  Health,  his  Rela- 
tions with  Disease  and  his  Struggle 
against  Death. 

(Sub-Divisions  57  to  62.)      (Fil- 
ing Containers  126*  to  I37*-) 


C— DESTINY.~The  Vicissitudes  of 
Inquiry  and  the  Infinite 

VII.    The  Mind  of  Man. 

Man's  Desire  for  Knowledge,  his 
Application  of  Reason  and  his 
Struggle  against  Ignorance. 

(Sub-Divisions  63   to  75.)     (Fil- 
ing Containers  138*  to  163*.) 

73 


THE  UNIVERSAL  PLOT  CATALOG 

VIII.    The  Soul  of  Man. 

Man's  Desire  for  Divinity,  his  Re- 
lations with  his  God  and  his  Strug- 
gle for  his  Religion. 

(Sub-Divisions  76  to  90.)     (Fil- 
ing Containers  139*  to  180*.) 

D. — HUMOR. — The  Vicissitudes  of  the 
Ridiculous  and  the  Sublime 

IX.    The  Emotions  of  Man. 

Man  Impassioned  by  the  Domina- 
tion of  the  Ludicrous,  the  Stimu- 
lation of  Diversion,  Participation 
in  Pleasure  and  the  Stress  of  Pathos. 
(Sub-Divisions  91  to  94.)  (Fil- 
ing Containers  181*  to  191*.) 

E.— NOT-MAN 

X.    The  Personification  of  Man. 

The  Humanizing  of  All  Creation, 
Creatures  and  Mythology  and  the 
Appropriation  of  their  Phenomena 
as  Dramatic  Material. 

(Sub-Divisions  95  to  100.)     (Fil- 
ing Containers  192 "  to  200*.) 

74 


Writing  becomes  so  easy,  when  we  are 
given  food  for  thought,  that  gluttons 
are  satisfied;  it  is  so  difficult,  when 
we  must  find  thought  for  food,  that  even 
the  most  delicate  sometimes  starve. 

CHAPTER   IX 
The  Universal  Plot  Catalog — II 

MAN 
(Meaning  Mankind) 

A. — ORIGIN.— The  Vicissitudes  of 
Creation  and  Re-creation 

I.    The  Nature  of  Man. 

Man's  Desire  for  Existence,  his  Relations 
with  Creation  and  his  Struggle  for  In- 
dividuality. 

I.   primeval  {Prehislorlc)  (e)  Cavi  Man 

I*  (a)    Mythological  (f)  Egyptians 

(b)  Missing  Link  (g)  Aztecs 

(c)  Darwinian  Theory  (h)  Atavism 

(d)  Stone  Age 

*  Indicates  number  of  Container  when  used  in  con- 
junction with  "The  Phillips  Automatic  Plot  Collector, 
File  and  Index, "  or  in  connection  with  privately  de- 
vised File. 

75 


THE  UNIVERSAL  PLOT  CATALOG 


2.  BIRTH  iPrigin) 
3*  (a)  High 

(b)  Low 

(c)  First-bora 

(d)  Heritage 

(e)  Illegitimate 

(f)  Foundling 

(g)  Birth  Mark 
(h)  Birth  Day 

3.  TIME  {Endurance) 
3*  (a)    Eternity 

(b)  Immemorial 

(c)  Ancient 

(d)  Obsolete 

(e)  Time-Worn 

(f)  Time  Honored 

(g)  Past 

(h)  Tempus  Fugit 

(i)  The  End 

(j)  Nevermore 

(k)  The  Present 

(I)  Date 

(m)  Season 

(n)  Epoch 

(0)  The  Times 

(p)  Endurance 

(q)  Future 

(r)  Forever 

4.  LIFE  {Existence) 

4*  (a)  Breath 

(b)  The  Senses 

(c)  Motion 

(d)  Animation 

(e)  To  Quicken 

(f)  Vitality 

(g)  Longevity 
(h)  Events 


76 


(i) 

Experience 

(J) 

Delineation 

(k) 

Ephemeral 

(I) 

Eternal 

(m; 

1  Biography 

S.  MAN  {Male) 

S*(a) 

Brute 

(b) 

Adolescence 

(c) 

Prime 

(d) 

Virility 

(e) 

Bachelor 

(f) 

Lady  Killer 

(g) 

Woman  Hater 

6*(h) 

Bread  Winner 

(i) 

Lord  and  Master 

(j) 

Miscellaneous 

6.   WOMAN  {Female) 

7*  (a) 

Innocence 

(b) 

Weakness 

(c) 

Beauty 

(d) 

Girl 

(e) 

Flirt 

(f) 

Fashion 

(g) 

Masquerade 

(h) 

Homeliness 

8*(i) 

Vixen 

(j) 

Slattern 

(k) 

Termagant 

(1) 

Squaw 

(m)  With  a  "Past"' 

(n) 

Spinster 

(0) 

Wage  Earner 

9*(P) 

Feminism 

(q) 

Suffragette 

(r) 

Superman 

(s) 

Miscellaneous 

THE   UNIVERSAL    PLOT    CATALOG- 


7.  CONDITION  (State) 

10*  (a)  Poverty 

(b)  Peasant 

(c)  Clod 

(d)  Slave 

(e)  Freeman 

(f)  Citizen 

(g)  Luxury 
(h)  Social 


8.  PERSON.\LITY  {Self) 

II*  (a) 

Individuality 

(b) 

Identity 

(c) 

Name 

(d) 

Egotism 

(e) 

Optimism 

(0 

Contentment 

12*  (g) 

Subconscious- 

(h) 

Dual  Personality 

(i) 

"Doubles" 

G) 

Impersonation 

(k) 

Puppet 

(1) 

A  Stranger 

(m)  Subtlety 

(n) 

Pessimism 

(0) 

Disposition 

(P) 

Temperament 

(q) 

Miscellaneous 

9.  RACE  (Species) 
13*  (a)   White 

(b)  Black 

(c)  Yellow 


(d)  Mixture 

(e)  Melting  Pot 

(f)  Survival  of  the  Fit- 

test 

(g)  Jew 

(h)  Russian 

(i)  Moor 

(j)  Indian 

(k)  Nomad 

(1)  Gypsy  _ 

(m)  Barbaric 

(n)  C'vilized 

(0)  Race  Suicide 

10.   CUSTOMS  (Convention) 

14*  (a)  Sociulogy 

(b)  Society 

(c)  Obsolete 

(d)  National 

(e)  I-Iabit 

(f)  Taste 

(g)  Breeding 
(h)  Chivalry 
(i)  Fitness 
(j)  Deference 
(k)  Imitation 

(1)  Civility 
(m)  Politeness 

(n)  "Women  First" 

(0)  Mrs.  Grundy 

(p)  Chaperon 

(q)  Bohemian 

(r)  Hermit 


77 


THE  UNIVERSAL  PLOT  CATALOG 


II.    The  Heart  of  Man. 

Man's  Desire  for  Happiness,  his  Rela- 
tions with  Woman  and  his  Struggle  for 
his  Family. 

II.  "^"^ 
15 


16 


17' 


18^ 


FRIENDSHIP  {A7niiy) 

19*  (I) 

Affinity 

*  (a)    Altruism 

(m)  Sentiment 

(b)    Charity 

(n) 

Clandestine 

(c)    Benefaction 

(0) 

Elopement 

(d)    Philanthropy 

(P) 

Romance 

(e)    Neighbors 

(f)     Congeniality 

20*  (q) 

Lover 

(g)    Comrades 

(r) 

Sweetheart 

(s) 

Courtship 

*  (h)    Partners 

(t) 

Lothario 

(i)     Trust 

(u) 

Worship 

(j)    Friend  in  Need 

(v) 

AfEanced 

(k)    Solace 

(w) 

Love-Loru 

(1)     Sacrifice 

(X) 

Eternal  Lover 

(m)  Forgiveness 
(n)   Auld  Lang  Syne 
(0)    Souvenirs 
(p)    Miscellaneous 

21*  (y) 

(z) 
(A) 
(B) 

Love  Letters 
Old  Flame 
Rivals 
Miscellaneous 

LOVE  {Afection) 

13.  MARRIAGE  {Wedlocl;) 

'•  (a)    Hungry  Heart 

22*  (a) 

Wedding 

(b)   Infatuation 

(b) 

Secret 

(c)    Trysts 

(c^ 

Gifts 

(d)    Moonshine 

(d) 

Remarriage 

(e)    The  Kiss 

(e) 

Runaway- 

({)    Mother 

(f) 

Mock- 

(g) 

Morganatic 

■  (g)    Father 

(h) 

Intermarriage 

(h)    Filial 

(i) 

Miscegenation 

(i)     Platonic 

(j)    Free  Love 

23*  (j) 

For  Name 

(L)    Illicit 

(k) 

For  Aloney 

78 


THE   UNIVERSAL    PLOT   CATALOG — II 


24 


25 


14. 


26' 


(1) 

For  Beauty 

(m: 

)  Honeymoon 

(n) 

Husband 

(0) 

Wife 

MP) 

Happy 

(q) 

Blunder 

(r) 

Mesalliance 

(s) 

Deception 

(t) 

Polygamy 

(u) 

Harem 

Mv) 

Obedience 

(w)  Fidelity 

(x) 

Childless 

(y) 

Cruelty 

(z) 

Martyr 

(A)  Annulment 

(B)  Miscellaneous 

PARENTHOOD      {Fo. 

bears) 

'(a) 

Ancestor  Worship 

(b) 

Patriarch 

(c) 

Grand  Parent 

(d) 

Parental  Instinct 

(e) 

Eugenics 

(f) 

Father 

(g) 

Maternity 

(h) 

Mother 

(i) 

Step-Mother 

(J) 

Sacrifice 

(k) 

Loneliness 

(1) 

Forsaken 

(ra)  Age 

(n) 

Miscellaneous 

15.   CHILDREN   (and 

Life) 

28*  (a) 

Baby 

(b) 

Nurse 

(c) 

Innocence 

(d) 

Heir 

(e) 

Twins 

(f) 

Son 

(g) 

Daughter 

29*  (h) 

Only  Child 

(i) 

Spoiled 

(J) 

Incorrigible 

(k) 

Escapade 

(1) 

Runaway 

(m) 

Stowaway 

(n) 

Mischief 

(0) 

Favorite 

30*  (p) 

Orphan 

(q) 

Adoption 

(r) 

Step-Child 

(s) 

Loneliness 

(t) 

Martyr 

(u) 

Lost 

(v) 

Urchin 

(w)  Cripple 

(x) 

Precocity 

(y) 

Defective 

(z) 

Ugly  Duckling 

(A)  Peacemaker 

(B) 

Hero 

(C) 

Santa  Claus 

(D)  Child  Labor 

(E)  Miscellaneous 

16.  FAMILY  (Kin) 

31*  (a) 

Ancestry 

(b) 

Heirlooms 

Child 


79 


THE  UNIVERSAL  PLOT  CATALOG 


(c)    Name 

18.   SEPARATION  (and  Port- 

(d)    Traditions 

ing) 

(e)    Children 

35*  (a) 

Wanderlust 

(f)     Brothers 

(b) 

Runaway 

(g)    Sisters 

(c) 

Fugitive 

(h)    -in-Laws 

(d) 

Exile 

(i)     Likeness 

(e) 

Immigrant 

(j)    Tics 

(f) 

Lost 

(k)    Customs 

(g) 

Rejection 

(h) 

Expulsion 

32*  (1)    Felicity 

(i) 

Jilt 

(m)  Sacrifice 

(j) 

Exclusion 

(n)    Posterity 
(0)    -Secrets 
(p)    "Skeletons 

36*  (k) 

(1) 
(m) 

Infelicity 

Estrangement 

Alienation 

(q)    Black  Sheep 

(n) 

Unfaithfulness 

(r)    Squabbles 
(s)    Intrigue 
(t)    Feud 

(0) 
(p) 

(q) 

Betrayal 

Desertion 

Irrevocable 

(u)    Miscellaneous 

(r) 

Co-Respondent 

(s) 

Divorce 

17.   HOME  {Hahitation) 

(t) 

Widowhood 

33*  (a)    Home  Seekers 

(u) 

Miscellaneous 

(b)    Home-Making 

\**/ 

(c)    Home-Body 

19.  COMMUNICATION  (01 

(d)    Home  Town 

Reminder) 

(e)    Fireside 

37*  (a) 

Message 

(f)    Refuge 

(b) 

News 

(g)    No  place  like  — 

(c) 

Letters 

(d) 

Telescope 

34*  (h)    Nostalgia 

(e) 

Heliograph 

(i)     Back  Home 

(f) 

Pigeon 

(j)    Efifect  of  Suffrage 

(g) 

Telepathy 

(k)    Mortgage 

(h) 

Signals 

(1)     Eviction 

(i) 

Code 

(m)  Auction 

(j) 

Matchmaker 

(n)    Fire 

(k) 

Memory 

(0)    Homeless 

(1) 

Music 

(p)   Miscellaneous 

(m)  Relics 

80 


THE  UNIVERSAL  PLOT  CATALOG — II 


20.   RE-UNION  (Rejoining) 
38*  (a)    Remorse 

(b)  Forgiveness 

(c)  Passer-By 

(d)  Return 


(e)  Back  to  the  Farm 

(f)  Re-Union 

(g)  Rejuvenation 
(h)  Explanations 


B.— ASPIRATION.— The  Vicissitudes  of 
Passion  and  Deterioration 

III.    The  Ambition  of  Man. 

Man's  Desire  for  Position,  his  Rela- 
tions with  Society  and  his  Struggle  for 
Achievement. 


21.  ADVENTURE  {Exploil) 

39*  (a)  Adventurer 

(b)  Adventuress 

(c)  Heroine 

(d)  Incognito 

(e)  Speculation 

(f)  Mystery 

40*  (g)  Warning 

(h)  Pitfalls 

(i)  Hazard 

(j)  Foolhardy 

(k)  Peril 

0)  Tribulation 

(m)  Rescue 

(n)  Escape 

41*  (0)  Exploration 

(p)  Savages 

(q)  Cannibals 

(r)  Quicksands 

(s)  Pioneer 


81 


(t) 

Colonist 

(u) 

Wild  West 

(V) 

Hunter 

(w) 

Mountain  Climber 

(X) 

Miscellaneous 

22.   FAILURE  ilmpotcncy) 

42*  (a) 

Inefficient 

(b) 

Blunder 

(c) 

Mishap 

(d) 

Indolence 

(e) 

Plodder 

(f) 

In  the  Rut 

43*  (g) 

Mollycoddle 

(h) 

Ne'er-do-Well 

(i) 

Scape  Goat 

G) 

Debt 

(k) 

Bankruptcy 

(1) 

Disgrace 

(m)  Broken  Heart 

THE  UNIVERSAL  PLOT  CATALOG 


44*  (n)  Poverty 

(o)  Pawnbroker 

(p)  Bread  Line 

(q)  Derelict 

(r)  Saloon 

(s)  Crime 

(t)  Salvation  Array 

(u)  Relapse 

(v)  Ruin 

(w)  Miscellaneous 

23.  AVOCATION  {Occupa- 

tion) 

45*  (a)  Profession 

(b)  Business 

(c)  Politics 

(d)  Labor 

(e)  Crook 

(f)  Do-Nothing 

(g)  Beggar 

(h)  Mountebank 

(i)  Sinecure 

(j)  Executioner 

(k)  Servant 

24.  VOCATION  {Call) 
46*  (a)  Religious 

(b)  Artist 

(c)  Warrior 

(d)  Actor 

(e)  Service 

(f)  Propagandist 

(g)  Suffragist 
(h)  Agitator 
(i)  Crusade 


25.  COMPETITION 

ry) 
47*  (a)    Professional 


{Rival 


82 


(b)  In  Business 

(c)  In  Politics 

(d)  In  Sport 
(c)  Oratory 

(f)  Advantage 

(g)  Handicap 

(h)  Discrimination 

(i)  Corpwration 

(j)  Monopoly 

s5.  OPPORTUNITY  {Crisis) 

48*  (a)  "Knocks  but  Once" 

(b)  Opening 

(c)  Crisis 

(d)  Now 

(e)  In  Season 

(f)  Critical 

(g)  Propitious 
(h)  Coincidence 
(i)  Opportunist 

(j)  Man  of  the  Hour 

49*  (k)  V/asted- 

(1)  Tempus  Fu^t 

(m)  Too  Late 

(n)  Yesterday 

(o)  Persistence 

(p)  Abide 

(q)  Providential 

(r)  Luck 

(s)  Progress 

(t)  Tomorrow 

(u)  Future 

(v)  Miscellaneous 

27.   SUCCESS  {Achievement) 

50*  (a)  Potcndahty 

(b)  Luck 

(c)  Meiit 


THE  UNIVERSAL  PLOT  CATALOG — II 


(d) 

Thrift 

(e) 

Honesty 

(0 

The  Cost 

(g) 

Artistic 

(h) 

Material 

51*  (i) 

Uplifting 

(J) 

Degrading 

(k) 

Credit 

(1) 

Reward 

(m)  Diploma 

(n) 

Medal 

(o) 

Champion 

(P) 

Miscellaneous 

28.  NOTORIETY  (Pub 

52*  (a) 

Plaudits 

(b) 

In  Print 

(c) 

The  Press 

(d) 

Editorial 

(c) 

Reportorial 

(0 

Advertisement 

(g) 

"Personal" 

(h) 

Anecdote 

53*  (i) 

Conceit 

(J) 

Unsavory 

(k) 

TellTale 

(1) 

Gossip 

(m)  Scandal 

(n) 

False  Report 

(o) 

A  Babble 

(P) 

Tragical 

(q) 

Miscellaneous 

(9.  AMBITION  (or  A. 

tion) 

54*  (a) 

Lure 

(b) 

Selfish- 

Aspira- 


83 


(c) 

Praise 

(d) 

Career 

(e) 

Nemesis 

(f) 

Fame 

55*  (g) 

Land 

(h) 

Wealth 

(i) 

Clothes 

(j) 

Society 

(k) 

Family 

0) 

Title 

(m)  Leadership 

(n) 

Throne 

(o) 

Miscellaneous 

30.   SOCIETY  (Positioi 

56*  (a) 

The  Pillars 

(b) 

The  Bonds 

(c) 

Caste 

(d) 

400 

(e) 

Peer 

(f) 

Beau 

(g) 

Belle 

57*  (h) 

Hollowness 

(i) 

Iconoclast 

(j) 

Parasite 

(k) 

Climber 

(1) 

Snob 

(m)  Cad 

(n) 

Pariah 

(0) 

The  Masses 

(P) 

The  Dregs 

(q) 

Vassal 

(r) 

Peon 

(s) 

Slave 

(t) 

Miscellaneous 

31.   STATION  (Rank) 

58*  (a) 

Royalty 

THE  UNIVERSAL   PLOT  CATALOG 


(b) 

Hierarchy 

(c) 

Aristocracy 

(d) 

Nobility 

(e) 

Ruler 

(f) 

President 

(g) 

Prince 

59*  (h) 

Statesman 

(i) 

Official 

(J) 

Pedigree 

(k) 

Pride 

(1) 

Pomp 

(m)  Homage 

(n) 

Satellite 

(o) 

Lese  Majeste 

(P) 

Miscellaneous 

32.  FAME  (Renown) 

60*  (a) 

In  Government 

61* 


(b) 

In  Art 

(c) 

In  Letters 

(d) 

War 

(e) 

Science 

(f) 

Exploration 

(g) 

Commerce 

(h) 

Church 

(i) 

Contemporaneous 

(J) 

—  over  Night 

(k) 

Glory 

(1) 

Honor 

(m)  Masterpiece 

(n) 

Parnassus 

(0) 

Wi!l-o'-the-Wisp 

(P) 

Suppressed 

(q) 

Posthumous 

(r) 

Miscellaneous 

IV.    The  Might  of  Man. 

Man's  Desire  for  Supremacy,  his  Rela- 
tions with  Antagonists  and  his  Struggle 
for  Power. 


33-   POWER  [Dominion) 

(I)    Dictator 

6a*  (a)    Monarchy 

(m)  Usurper 

(b)   Hierarchy 

(n)   Potentate 

(c)    Oligarchy 

(0)    Mogul 

(d)    Plutocracy 

(p)    Chief 

(e)    Democracy 

(f)    Emperor 

64*  (q)   Aristocrat 

(g)    King 

(r)    Political- 

(h)    Pope 

(s)    Demagog 

(i)    Doge 

(t)    Padrone 

(u)   Master 

63*  G)    Tyrant 

(v)    Slave  Driver 

(k)   Despot 

(w)  Miscellaneous 

84 


THE  UNIVERSAL  PLOT  CATALOG — U 


34.  PARTY  {Faction) 
65*  (a)  Side 

(b)  Alliance 

(c)  League 

(d)  Fraternity 

(e)  Brotherhood 

(f)  Committee 

(g)  Cabal 
(h)  Clique 

66*  (i)  Club 

(j)  Crew 

(k)  Posse 

(1)  Band 

(m)  Clan 

(n)  Tribe 

(0)  Canaille 
(p)  Horde 

(q)  Miscellaneous 

35.  DISCORD  {Dissension) 
67*  (a)  Labor 

(b)  Unemployed 

(c)  Agitator 

(d)  Socialism 

(e)  Boycott 

(f)  Sabotage' 

(g)  Malcontent 
(h)  Discontent 

68*  (i)  Instigation 

(j)  Public  Opinion 

(k)  Unrest 

(1)  Quarrels 
(m)  Insult 
(n)  Enemies 
(o)  Division 
(p)  Vox  Populi 
(q)  License 

(r)  Miscellaneous 


36.  COMBAT  {Fight) 
69*  (a)  Hand-to-Hand 

(b)  Drunken 

(c)  Gang 

(d)  Fray 

(e)  Duel 

(f)  Tourney 

(g)  Feud 

(h)  —  of  Tongues 

(i)  Pugilist 

0)  Gladiator 

37.  REVOLT  {Rising) 
70*  (a)  Strike 

(b)  Mob 

(c)  Violence 

(d)  Riot 

(e)  Bombs 
(0  Dynamite 
(g)  Assassination 

71*  (h)  Suffrage- 

(i)  Race- 

0)  Mutiny 

(k)  Vendetta 

(1)  Pretender 

(m)  Anarchy 

(n)  Call  to  Arms 

(o)  Militia 

(p)  Miscellaneous 


85 


38.   PATRIOTISM 

Patrice) 
72*  (a)    The  Flag 

(b)  Anthem 

(c)  Loyalty 

(d)  Defiance 

(e)  Fanatic 

(f)  Sacrifice 


{Atnor 


THE  UNIVERSAL  PLOT  CATALOG 


(g) 

Woman's- 

(h) 

Hero 

(i) 

Martyr 

G) 

Alarms 

(k) 

Traitor 

39.  SOLDIER  {Combatant) 

73*  (a) 

Recruit 

(b) 

Officer 

(c) 

Countersign 

(d) 

Sentinel 

(e) 

Scout 

(f) 

Amazon 

(g) 

Courage 

(h) 

Heroism 

(i) 

Veteran 

74*  (J) 

Conscript 

(k) 

Sharpshooter 

(1) 

Wire-tapper 

(m) 

Spy 

(n) 

Mercenary 

(0) 

Renegade 

(P) 

White  Feather 

(q) 

Coward 

(r) 

Miscellaneous 

40.   WAR  {Hostilities) 

75*  (a) 

International 

(b) 

Internecine 

(c) 

Rebellion 

(d) 

Revolution 

(e) 

Invasion 

(f) 

Expcditioa 

(g) 

Intervention 

(h) 

Tribal 

(i) 

Religious 

0) 

Red  Cross 

86 


76*  (k)  Ultimatum 

(1)  Mobilizatioa 

(m)  Internment 

(n)  Passport 

(o)  Defence 

(p)  Aid 

(q)  Campaign 

(r)  War  Dance 

(s)  Miscellaneous 

41.  BATTLE  {Conflict) 
77*  (a)    Army 

(b)  Land 

(c)  Naval 

(d)  Aerial 

(e)  Challenge 

(f)  Skirmish 

(g)  Battle-Cry 
(h)  Charge 

(i)     Raid 

78*  (j)  Attack 

(k)  Ambush 

(1)  Strategy 
(m)  Trenches 

(n)  Under  Fire 

(o)  Siege 

(p)  Mine 

(q)  Gas 

(r)  Blunder 

(s)  At  Bay 

(t)  Miscellaneous 

42.  VICTORY  {Conquest) 
79*  (a)    Armageddon 

(b)  Triumph 

(c)  Conqueror 

(d)  Remedy 

(e)  Reformation 


THE  UNIVERSAL  PLOT  CATALOG H 


(f)  Liberty 

(g)  Uaioa 

80*  (h)  Rescue 

(i)  Reward 

0')  Territory 

(k)  Avenger 

(1)  Plunder 

(m)  Hostage 

(n)  Miscellaneous 

43.  SUBJUGATION  (.Defeat) 
81*  (a)  Defeat 

(b)  Surrender 

(c)  The  Bitterness 

(d)  Abdication 

(e)  Dispersion 

(f)  Taxation 

(g)  Loot 

(h)  Retribution 

83*  (i)  Captive 

(j)  Prison 

(k)  Dungeon 

(1)  Ransom 

(m)  Exchange 

(n)  Parole 

(o)  Escape 

(p)  Fugitive 

(q)  Exile 

(r)  Miscellaneous 

44.  CALAMITY  Affliction) 
83*  (a)  Revenge 

(b)  "Qui  SauvePeut" 

(c)  Wounds 

(d)  Pillage 

(e)  Devastation 
(i)  Famin* 


(g)  Cruelty 

(h)  Slavery 

(i)  Rape 

(j)  Horror 

84*  (k)  Destroyer 

(1)  Doom 

(m)  Scalps 

(n)  Massacre 

(0)  Execution 
(p)  Death 

(q)  Extermination 

(r)  Ghouls 

(s)  Miscellaneous 

45.  PEACE  {Concord) 
85*  (a)  Diplomacy 

(b)  Arbitration 

(c)  Mediation 

(d)  Neutrality 

(e)  Truce 

(f)  Treaty 

(g)  Pacification 
(h)  Peace-Maker 
(i)  Peace  Offering 
(j)  Forgiveness 
(k)  Reconstruction 

(1)  Industries 
(m)  Rebuilding 
(n)  Prosperity 
(o)  Education 
(p)  Recreation 
(q)  Art 

46.  HISTORY  {Record) 
86*  (a)  Myth 

(b)  Legend 

(c)  Antiquarian 

(d)  Research 


THE   UNIVERSAL    PLOT   CATALOG 


(e)  Discovery 

(f)  —  Repeats  Itself 

(g)  Anniversary 


(h)    Reminiscence 
(i)     Chronology 
(j)     Statistics 


V.    The  Character  of  Man. 

Man's  Desire  for  Luxury,  his  Relations 
with  Morality  and  his  Struggle  against 
Sin. 


47-   MONEY  {Wealth) 

(z) 

Pauper 

87*  (a) 

Gold 

(A) 

Alms 

(b) 

Property 

(B)  Beggary 

(c) 

Fortune 

(C) 

Miscellaneous 

(d) 

Jewels 

(e) 

Thrift 

48. 

TEMPTATION    {Entice- 

(f) 

Luck 

metil) 

(g) 

Heir 

90 

*(a) 

Money 

(h) 

Plutocrat 

(b) 

Luxury 

(i) 

Idle  Rich 

(0 

Glory 

(J) 

Parvenu 

(d) 
(e) 

Graft 
Forgery 

88*  (k) 

Buried  Treasure 

(f) 

Fraud 

(1) 

Ransom 

(g) 

Bribe 

(m)  Munificent 

(h) 

Speculation 

(n) 

Speculation 

(i) 

Gems 

(0) 

Spendthrift 

(P) 

Misfortune 

91 

*a) 

Woman 

(q) 

Lost  Fortune 

(k) 

Glitter 

(r) 

Land- Poor 

(1) 

Pleasure 

(m)  Empty  Promises 

89*  (s) 

Debt 

(n) 

Snare 

(t) 

Miser 

(0) 

The  City 

(u) 

Stingy 

(P) 

Starvation 

(v) 

Money  Lender 

(q) 

Miscellaneous 

(w) 

Loan  Shark 

(X) 

Stranded 

49- 

CHARACTER  (Qualities) 

(y) 

Hireling 

92 

•(a) 

Psychology  of  — 

88 


THE  UNIVERSAL  PLOT  CATALOG H 


(b)  Endowment 

(c)  Principles 

(d)  "Blood  Will  Tell" 

(e)  Noblesse  Oblige 
{£)  Thorobrcd 

(g)  Quality 

(h)  Backbone 

(i)  Environment 

0)  Type 

93*  (k)    Strong 
(i)     Honor 
(m)  Loyalty 
(n)    Generosity 
(o)    Good  Name 
(p)    Compassion 
(q)    Gentleness 
(r)    Deeds 
(s)    Hard 
(t)    Meanness 
(u)    Weak 
(v)    Ingrate 
(w)  Loafer 
(x)    Degenerate 
(y)   Miscellaneous 

50.  ERROR  (Foible) 
94*  (a)    Gossip 

(b)  Eavesdropper 

(c)  Tell-Tale 

(d)  Liar 

(e)  Scandal 

({)    Sharp  Tongue 
(g)   Temper 
(h)   Profanity 

95»  (i)    Vanity 
(j)    Greed 
(k)   Covetousness 


(1) 

Envy 

(m)  Jealousy 

(n) 

Prejudice 

(0) 

Hatred 

(P) 

Hard  Heart 

(q) 

Misanthrope 

96*  (r) 

Deceit 

(s) 

Perversity 

(t) 

Grafter 

(u) 

Wanderlust 

(v) 

Clothes 

(w) 

Gourmand 

(x) 

Tobacco 

(y) 

Miscellaneous 

SI.  PASSION  {Lusi) 

97*  (a) 

Evil- 

(b) 

Taint 

(c) 

Degenerate 

(d) 

—  for  Combat 

(e) 

Brute 

(f) 

Revenge 

98*  (g) 

For  Money 

(h) 

Kleptomania 

(i) 

Gambler 

(J) 

Pyromaniac 

99*  (k) 

Habit 

(1) 

Drink 

(m 

)  Drugs 

100*  (n) 

1    Sex 

(0) 

Vampire 

(p; 

1    "Needle" 

(q; 

1    "Wildcats" 

(r) 

Orgy 

(s) 

Wliite  Slave 

89 


THE  UNIVERSAL  PLOT  CATALOG 


(t) 

Prostitute 

(B) 

"Fsnce" 

(«) 

Miscellaneous 

(C)  Loot 

(D)  Victim 

52.   CRIME  {Felony) 

(E) 

Mystery 

ioi*(a) 

Psychology  of  — 

(F) 

Miscellaneous 

(b) 

The  Underworld 

(c) 

Unregenerate 

53-  DETECTION  {Discovery) 

no*  (a) 

Police 

102*  (d) 

Thief 

(b) 

Pedigree 

(e) 

Burglar 

(c) 

Third  Degree 

(f) 

Shop-Lifter 

(d) 

Frame-Up 

103*  (g) 

Blackmailer 

iii*(e) 

Detective 

(h) 

Black  Hand 

(f) 

Clue 

(i) 

Kidnapper 

(g) 

Disguise 

G) 

Dynamiter 

(h) 

Dictograph 

(i) 

Deduction 

104*  (k) 

Hold-Up 

(J) 

Induction 

(1) 

Bandit 

(m)  Outlaw 

112*  (k) 

Confession 

(1) 

Squealer 

I05*  (n) 

Murderer 

(m)  State's  Evidence 

(0) 

Assassin 

(n) 

Betrayal 

(o) 

Decoy 

io6*  (p) 

Wliite  Slaver 

(P) 

Accusation 

(q) 

Fire  Bug 

(r) 

Bunco  Steerer 

113*  (q) 

Double  Life 

(s) 

Counterfeiter 

(r) 

Conscience 

(t) 

Gangster 

(s) 

Guilt 

(t) 

Innocence 

107*  (u) 

Rustler 

(v) 

Moonshiner 

114*  (u) 

Pawnbroker 

(w) 

Poacher 

(v) 

Raid 

(w)  Fugitive 

io8*  (x) 

Pirate 

(X) 

Reward 

(y) 

Smuggler 

(y) 

Finger-Priat 

109*  (z) 

Plot 

IIS*U) 

Scar 

(A)  Confederate 

(A)  IdsQtificatiea 

90 


THE  UNIVERSAL  PLOT  CATALOG — U 


(B)  Capture 

(C)  Exposure 

(D)  Miscellaneous 

54.   THE   LAW  {Restraint) 

Il6*(a)  Technicalities 

(b)  Evasion 

(c)  Within  the  — 

(d)  Man-Made- 

(e)  The  Unwritten- 

(f)  Justice 

(g)  Injustice 
(h)  Errors 

117*  (i)     Law  Suit 
(j)    Trial 
(k)    Defence 
(1)    The  Bench 
(m)  Judge 
(n)    Recall 

118*  (o)  District  Attorney 

(p)  Lawyer 

(q)  Cross  Examination 

(r)  Witness 

(s)  Evidence 

(t)  Death  Sign 

(u)  Bribery 

(v)  Perjury 

Ji9*(w)  Children's  Court 
(x)    Arrest 
(y)    Prisoner 
(z)    OldOfTender 

(A)  Bail 

(B)  Jury 

(C)  Acquittal 

(D)  Conviction 

(E)  Miscellaneous 


5S.  PUNISHMENT  {Correc- 
tion) 
120*  (a)    Vigilantes 

(b)  Vengeance 

(c)  Lyncliing 

(d)  Innocent 

(e)  Vicarious 

121*  (f)  Protectory 

(g)  Reformatory 

(h)  Workhouse 

(i)  Prison 

(j)  Prison  Reform 

(k)  Dungeon 

(1)  The  Hulks 

(m)  Galleys 

(n)  Warden 

(0)  Keeper 

122*  (p)  Discipline 

(q)  Chastisement 

(r)  Pillory 

(s)  Execution 

(t)  Guillotine 

(u)  Garotte 

(v)  The  Ax 

(w)  Gibbet 

(x)  The  Chair 

123*  iy)  Convict 

(z)  First  Offense 

(A)  Serf 

(B)  Escape 

(C)  Fugitive 

(D)  For  Life 

(E)  Miscellaneous 


56.  REGENERATION 

hahilitation) 
124*  (a)    Operation 


{Re- 


91 


THE  UNIVERSAL  PLOT  CATALOG 


125*  (h) 


(b) 

Conscience 

(i)     Reformation 

(c) 

Repentance 

0')     Ex-Convict 

(d) 

Remorse 

(k)    A  "Past" 

(e) 

Trusty 

(1)     Branded 

(f) 

Parole 

(m)  Shame 

(g) 

Pardon 

(n)    Retribution 
(o)    Miscellaneous 

VI.    The  Flesh  of  Man. 

Man's  Desire  for  Health,  his  Relations 
with  Disease  and  his  Struggle  against 
Death. 

57.  HEALTH  (.Soundness) 


59- 
128^ 


I2( 

>*(a)    Bill  of  — 

(b)    Eugenics 

(c)    Cleanliness 

(d)    Sanitation 

(e)    Salubrity 

(f)    Youth 

(g)    Bloom 

(h)    Beauty 

(i)    joy 

S8. 

VIOLATION  (Abuse) 

127 

'*  (a)    Uncleanness 

(b)    Sloven 

(c)    Slattern 

(d)    Contamination 

(e)    Pollution 

(f)    Habits 

(g)    Dissipation 

(h)    Worry 

(i)     Inanition 

(j)    Decline 

(k)    Impurity 

(1) 

Crime 

(m)  Blight 

REJ 

(a) 

^EDY  (Alleviat 
Prohibition 

(b) 

Safety  First 

(c) 

First  Aid 

(d) 

Doctor 

(e) 

Medicine 

(f) 

Nurse 

(g) 

Hospital 

(h) 

X-Ray 

(i) 

Operation 

(J) 

Anesthetic 

(k) 

Radium 

(1) 

Convalescence 

(m)  Recreation 

(n) 

Suggestion 

(0) 

Shock 

(P) 

Love 

(q) 

Panacea 

(r) 

Quacks 

92 


THE   UNIVERSAL   PLOT    CATALOG JI 


60.  DISEASE  (Pe»a//:y) 

(0) 

By  Fire 

129*  (a) 

Microbes 

(P) 

By  Water 

(b) 

Infection 

(q) 

In  Battle 

(c) 

Contagion 

(r) 

Foul  Play 

(d) 

Heredity 

(s) 

Cruelty 

(e) 

Sins  of  the  Fattier 

(t) 

Frightened  to  — 

(f) 

Venereal 

(u) 

Execution 

(g) 

Plague 

(v) 

Miscellaneous 

(h) 

White  Plague 

(i) 

Leprosy 

62.   POST  MORTEM  {After 

(J) 

Pest  House 

Death) 

133*  (a) 

Corpse 

130*  (k) 

Dwarf 

(b) 

Mummy 

(1) 

Hunchback 

(c) 

Skeleton 

(m)  Cripple 

(n) 

Blindness 

134*  (d) 

Lying  in  State 

(0) 

Pain 

(e) 

Death  Watch 

(P) 

Stoic 

(f) 

Wake 

(q) 

Age 

(g) 

Undertaker 

(r) 

Relapse 

(h) 

Coffin 

(s) 

Incurable 

(i) 

Funeral 

(t) 

Miscellaneous 

G) 

Mourners 

(k) 

Hearse 

61.   DEATH  (Extinction) 

131*  (a) 

Mortality 

135*  (I) 

Morgue 

(b) 

Natural 

(m)  Charnel  House 

(c) 

Death  Bed 

(n) 

Tomb 

(d) 

Resuscitation 

(0) 

Vault 

(e) 

Death  House 

(P) 

Catacombs 

(f) 

Broken  Heart 

(q) 

Cemetery 

(S) 

Martyr 

(r) 

Potter's  Field 

(h) 

Vicarious 

(s) 

Burial 

(i) 

Error 

(t) 

Cremation 

(J) 

Starvation 

(u) 

Burning  Ghat 

(v) 

Ashes 

132*  (k) 

Violence 

(1) 

Suicide 

136* (w) 

Ghouls 

(m)  Poison 

(x) 

Exhumation 

(n) 

Accident 

(y) 

Cadaver 

93 


THE   UNIVERSAL    PLOT   CATALOG 


(z)  Dissection 

(A)  Epitaphs 

(B)  Posthumous 

(C)  LegaUy  Dead 

137*  (D)  Obituary 

(E)  Will 

(F)  Insurance 


(G)  Estate 
(H)  Heirs 
(I)    Heirlooms 
(J)    Intestate 
(K)  Destitution 
(L)  Widows 
(M)  Orphans 
(N)  Miscellaneous 


C. — DESTINY. — The  Vicissitudes  of 
Inquiry  and  the  Infinite 

VII.    The  Mind  of  Man. 

Man's  Desire  for  KnoAvledge,  his 
Application  of  Reason  and  his  Strug- 
gle against  Ignorance. 


63.   PROBLEMS  {Questions) 

(c) 

Dreams 

138*  (a) 

Cause  and  Effect 

(d) 

Meteors 

(b) 

Enigma 

(e) 

Talisman 

(c) 

Cui  Bono 

(f) 

Luck 

(d) 

Free  WiU 

(g) 

Hoodoo 

(e) 

Religion 

(h) 

"13" 

(f) 

Science 

(g) 

Ethics 

140 

*(i) 

Myths 

(h) 

Law 

(J) 

Haunted 

(i) 

Social 

(k) 

Ghosts 

G) 

Race 

(1) 

Banshee 

(k) 

Economic 

(m)  Witches 

(1) 

Labor 

(n) 

Enchanted 

(m) 

—  of  the  Day 

(0) 
(P) 

Cursed 
Miscellaneous 

64.   superstition  {Cred:i- 

lity) 

6S. 

CHARLATANISM    {De 

139*  (a) 

Omens 

cepti-cn) 

(b) 

Evil  Portents 

141 

*(a) 

Magic 

94 


THE   UNIVERSAL    PLOT   CATALOG — H 


(b) 

(c) 
(d) 
(e) 
(f) 
(g) 
(h) 
(i) 
(J) 
(k) 

0) 
(m) 

(a) 


Necromancy 

Black  Art 

Astrology 

Crystal  Gazing 

Palmistry 

Fortune  Telling 

Voodoo 

Fraud 

Oracle 

Divining  Rod 

Luckstone 

Cults 

Sophistry 


(e) 

(f) 

(g) 

(h) 

(i) 

G) 

(k) 

(1) 


Discovery 

Chemistry 

Astronomy 

Physics 

Electricity 

Radium      * 

Phonograph 

Sacrifice 


66.  INQUIRY  (Edi'xatwn) 

142*  (a)  Ignoranct 

(b)  Instinct 

(c)  Curiosity 

(d)  Incredulity 

(e)  Expression 
({)  Renascenee 
(g)  CoUege 

(i)  Book! 

143*  (T)  Teacher 

(j)  Student 

(k)  Co-Ed 

0)  Scholar 
(m)  School  Days 

(n)  Pedant 

(o)  Over-Education 

(p)  Alumni 

(q)  Ikliscellaneous 

«7.  SCIENCE  {Knowledge) 
144*  (a)    Scientist 

(b)  Inventor 

(c)  Experirae«t 

(d)  TwJt 


(m)  Rewards 

68.   REASON  {Intellect) 

145*  (a)  Intuition 

(b)  Thought 

(c)  Theory 

(d)  Credulity 

(e)  Conviction 

(f)  Wisdom 

(g)  Reason 
(h)  Sagacity 
(i)  Genius 

(j)    Profundity 
(k)   Opinion 
(I)     Propaganda 
(m)  Argument 
(n)   Debate 

(o)  mt 

(p)   Stupidity 


69.  LITERATURE 
lional  History) 
146*  (a)    Literati 

(b)  Author 

(c)  Hack 

(d)  Editor 

(e)  Struggles 

(f)  Inspiration 

(g)  Masterpiece 
(h)    Plagiarism 


{Emo- 


^S 


THE  UNIVERSAL  PLOT  CATALOG 


147*  (i)     Grammar 

iSi*(h)    Idealism 

(j)    Rhetoric 

(i)    Arcadia 

(k)    Phrase 

(j)    Utopia 

(1)     Style 

(k)    Golden  Age 

(m)  Expression 

(1)     Poetry 

(n)    Power 

(m)  Dark  Ages 

(0)    Description 

(n)    Middle  Ages 

(p)    Belles  Let  tres 

(0)    Chivalry 

(q)    Journalism 

(p)    Knights 

(q)   Troubadours 

148*  (r)    Manuscript 

(r)    Cavalier 

(s)    Letters 

(s)    Adventure 

(t)    Diary 

(u)    Copy 

153*  (t)    Juvenile 

(v)    Publication 

(u)    Fairies 

(w)  Fiction 

(v)    Youth 

(x)    Poetry 

(w)  The  Dreamer 

(y)    Drama 

(x)    Love 

(z)    Essay 

(y)   Love  Potion 

(A)  Learning 

(z)    Witching  Hour 

149* (B)  Books 

(A)  Old  Age 

(C)  Tracts 

(B)  By-Gones 

(D)  Magazines 

(C)  Miscellaneous 

(E)  Novel 

(F)  Short  Story 

71.  SUGGESTION  iFascina 

(G)  Melodrama 

Hon) 

(H)  Reading 

153*  (a)    Auto- 

(1)    Book-Worm 

(b)    Hypnotism 

(J)    Library 

(c)    Domination 

(K)  Miscellaneous 

(d)    Fear 

(e)    Men  are  like  Sheep 

70.  ROMANCE  {Day  Dreams) 

(f)    Panic 

150*  (a)    Fancy 

(g)    Guilt 

(b)    Reveries 

(h)   A  Curse 

(c)    Castles  in  Spain 

(i)     The  Senses 

(d)    Make-Believe 

(e)    Supposition 

1 54*  (j)    Sentiment 

(f)    Expectation 

(k)    Reminiscence 

(g)    Exaggeration 

(1)    Memories 

96 


THE   UNI\^RSAL    PLOT   CATALOG — II 


(m)  Music 

(0) 

Despair 

(n) 

A  Song 

(P) 

Memories 

(o) 

Springtime 

(q) 

Aphasia 

(P) 

Solitude 

(q) 

Allegory 

158 

*(r) 

Obsession 

(r) 

Miscellaneous 

(s) 
(t) 

Brain  Storm 
Hysteria 

12.   PSYCHIC  {Metaphysics) 

(u) 

Delirium 

155 '  (a) 

Occult 

(v) 

Idiot 

(b) 

Supernatural 

(w) 

Alienist 

(c) 

Mystery 

(d) 

Psychology 

159 

*w 

Insanity 

(e) 

"Gifts" 

(y) 

Asylum 

(0 

Prophecy 

(z) 

Mistake 

(g) 

Premonition 

(A) 

Maniac 

(h) 
(i) 

Dreams 
Telepathy 

(B) 

Miscellaneous 

G) 

Fate 

74- 

TRUTH  {Enlighlenment) 

(k) 

Zodiac 

160 

*(a) 

Authentic 

(1) 

Miracles 

(b) 

Certainty 

(m)  Sleep 

(c) 

Exactitude 

(d) 

Positiveness 

73-   DERANGEMENT  {Dis- 

(e) 

Definite 

order) 

(f) 

Infallible 

iS6*(a) 

"Character" 

(g) 

Inviolable 

(b) 

Visionary 

(h) 

Genuine 

(c) 

Freak 

(i) 

Orthodox 

(d) 

Fanatic 

(J) 

Absolute 

(e) 

Crank 

(k) 

Ultimate 

(f) 

Defective 

(g) 

Age 

161 

*(1) 

Knowledge 

(m)  Mathematics 

157*  (h) 

Insomnia 

(n) 

Deduction 

(i) 

Somnambulism 

(0) 

Disclosure 

(J) 

Voices 

(P) 

Realism 

(k) 

Nostalgia 

(q) 

Veracity 

(1) 

Melancholia 

(r) 

Bona  Fide 

(m)  Moodiness 

(s) 

Literal 

(n) 

Fear 

(t) 

Plain  Dealing 

97 


THE  UNIVERSAL  PLOT  CATALOG 


(u)    Outspoken 

(h)    Consequenc* 

(v)    Unvarnished 

(i)     Harvest 

(w)  Sincerity 

(x)    Miscellaneous 

163*  (j)    Fatalism 

(k)    Hazard 

75-    FATE  (Destiny) 

(1)     Accident 

162*  (a)    Predestination 

(m)  Lot 

(b)    Will  of  God 

(n)    Nemesis 

(c)    Chance 

(0)    Irrevocable 

(d)    Luck 

(p)    Inexorable 

(e)    Necessity 

(q)    Doom 

(f)     Inevitable 

(r)    End 

(g)    Efifect 

(s)    Miscellaneous 

VIII.    The  Soul  of  Man. 

Man's  Desire  for  Divinity,  his  Re- 
lations with  his  God  and  his  Struq:g:le 
for  his  Religion. 


'&o' 


76.   REVELATION     {The 

(b)    Christian 

Word) 

(c)    Mohammedan 

164*  (a)    Nature 

(d)    Buddhist 

(b)    The  Bible 

(e)    Confucianism 

(c)    Talmud 

(f)     Shintoism 

(d)    Koran 

(g)    Sun  Worshippers 

(e)    Creator 

(h)    Pantheism 

(f)     Prophets 

(i)    Theology 

(g)    The  Messiah 

(j)    Doctrine 

(h)    Commandments 

(k)    Orthodox 

(i)     Beatitudes , 

(j)    Visions 

78.  ORGANIZATION 

(k)    Oracle 

(Church) 

(1)    Providence 

166*  (a)    Synagogue 

(b)    Temple 

77.  INTERPRETATION 

(c)    Mosque 

(Creed) 

(d)    Catholic 

165*  (a)    Jew 

(e)    Greek 

98 


THE   UNIVERSAL   PLOT   CATALOG — II 


(f)  Anglican 

(g)  Protestant 

(h)  Non-Conformist 

(i)  Huguenot 

G)  Quaker 

(k)  Christian  Science 

(1)  Mormon 

(m)  Salvation  Army 

(n)  Edifice 

79.   CONSECRATION 

(Priest) 

167*  (a)  Patriarch 

(b)  "Call" 

(c)  Renunciation 

(d)  Seminary 

(e)  Consecration 

(f)  The  Cloth 

(g)  Deacon 
(h)  Minister 
(i)  Preacher 
(j)  Parish 
(k)  Flock 

(1)  Woman 

(m)  Unfrock 

(n)  Rabbi 

168*  (o)  Priest 

(p)  Early  Fathers 

(q)  Monk 

(r)  Jesuit 

(s)  Trappist 

(t)  Cure 

(u)  Nun 

(v)  Celibacy 

(w)  Vows 

(x)  Bishop 

(y)  Cardinal 

(z)  Pope 

(A)  Miscellaneous 


80.  INSPIRATION   (Compre- 

hension) 
169*  (a)    The  Bible 

(b)  Revelation 

(c)  Christ 

(d)  The  Cross 

(e)  Mohammed 

(f)  Evangelists 

(g)  Sermon 

(h)    Propaganda 
(i)     Works 

81.  RECOLLECTION     (Con- 

science) 

1 70*  (a)  Conscience 

(b)  Temptation 

(c)  —  Ignored 

(d)  Backslider 

(e)  Pariah 

(f)  Remorse 

(g)  Revivals 

(h)    Regeneration 
(i)     Atonement 

82.  CONVICTION  (Faith) 
171*  (a)    Miracles 

(b)  Lourdes 

(c)  Healing 

(d)  Conversion 

(e)  Proselyte 

(f)  Disciple 

(g)  Confession 
(h)  Absolution 
(i)  Hope 

(j)    Blind 

(k)    —that    WiU    Move 

Mountains 
(I)    Martyrs 


99 


THE   UNIVERSAL   PLOT   CATALOG 


83.  REUGION  (Works) 
172*  (a)  Godliness 

(b)  Duty 

(c)  Penance 

(d)  Sacrifice 

(e)  Purity 

(f)  Humility 

(g)  Forgiveness 
(h)  Mercy 

(i)  Charity 

(j)  Alms 

(k)  Missionaries 

173*  G)  Brotherhood 

(m)  Christmas 

(n)  Peace 

(o)  Miscellaneous 

84.  DEVOTION  (Worship) 
174*  (a)  Worship 

(b)  Adoration 

(c)  Prayer 

(d)  Intercession 

(e)  Virgin  Mary 

(f)  Shrines 

(g)  Mass 

(h)  Sacraments 

(i)  Ritual 

(j)  Service 

(k)  Praise 

0)  Incense 

(m)  Holy  Days 

(n)  Last  Rites 

85.  VISION  (Romance) 
175*  (a)  Prophets 

(b)  Visions 

(c)  Saints 

(d)  Martyrs 


(e)  Relics 

(f)  Miracles 

(g)  Legends 

(h)  Transcendentalism 

(i)  Templars 

(j)  Holy  Grail 

(k)  Santa  Claus 

86.  FANATICISM  (Bigotry'] 
176*  (a)  Moor 

(b)  Dervishes 

(c)  Wild  Sects 

(d)  Holy  War 

(e)  Crusaders 
(0  Asceticism 
(g)  Inquisition 
(h)  Persecution 
(i)  Sanctuary 

0)  Excommunicatioa 

(k)  Zealot 

(1)  Unbeliever 

(m)  Martyr 

(n)  Reformer 

(o)  Puritan 

(p)  Ranter 

87.  DECEPTION  (Delusion) 
177*  (a)  Disillusionment 

(b)  Myth 

(c)  Schism 

(d)  Apostate 

(e)  Heretic 

(f)  Pharisee 

(g)  Sanctimonious 
(h)  Spiritualists 
(i)  Trance 

(j)  Medicine  Man 

(k)  Sorcerer 

G)  Healer 


100 


THE  UNIVERSAL  PLOT  CATALOG — U 


(m)  Amulets 
(n)   Cults 

88.  DAMNATION  {Powers  of 

Evil) 

178*  (a)  Satan 

(b)  Sin 

(c)  Anti-Christ 

(d)  Temptation 

(e)  Hypocrite 

(f)  Blasphemy 

(g)  Sacrilege 
(h)  Desecration 
(i)  Mockery 
(j)  Witch 

(k)  Demons 

(1)  Exorcism 

(m)  Human  Sacrifice 

(n)  Atheist 

(o)  Heathen 

(p)  Idolatry 

(q)  Purgatory 

(r)  Hell 

89.  DESTINATION  (Goo/) 
179*  (a)   Grace 

(b)  Perfection 

(c)  Blessedness 

(d)  Savior 

(e)  Salvation 


(0  Redemption 

(g)  Resurrection 

(h)  Transmigration 

(i)  Eternity 

(j)  Future  State 

(k)  Immortality 

(!)  Spirit 

(m)  y^x>theosi3 

(n)  Sainthood 

(o)  Translation 

(p)  Angels 

(q)  Paradise 

(r)  Elysian  Fields 

(s)  Valhalla 

(t)  Happy   Hunting 

Ground 

(u)  Olympus 

(v)  Heaven 

90.  REALIZATION  {God) 

180*  (a)  Divinity 

(b)  Mohammed 

(c)  Christ 

(d)  Jove 

(e)  Brahma 

(f)  Buddha 

(g)  Allah 
(h)  Trinity 
(i)  GOD 


lOI 


THE  UNIVERSAL  PLOT  CATALOG 

D.— HUMOR.— The  Vicissitudes  of  the 
Ridiculous  and  the  Sublime 

IX.    The  Emotions  of  Man. 

Man  Impassioned  by  the  Domination 
of  the  Ludicrous,  the  Stimulation  of 
Diversion,  Participation  in  Pleasure 
and  the  Stress  of  Pathos. 


91.  FARCE  {Broad  Comedy) 

(y)    Situation 

181*  (a)  Farce 

(z)    Courtship 

(b)    Burlesque 

(A)  Contrast 

(c)    Travesty 

(B)  Fashions 

(d)   Comedy 

(C)  Family  Jars 

(e)    Buffoonery 

(f)    Tomfoolery 

184*  (D)  Clown 

(g)    Pranks 

(E)  Character 

(h)   Practical  Jokes 

(F)  Darkey 

(G)  Old  Maid 

182*  (i)    Mistaken  Identity 

(H)  Hired  Girl 

(j)    Superstition 

(I)    Suffragette 

(k)    Misunderstanding 

Q)    Monstrosity 

(1)     Absent-Mindedness 

(K)  Butt 

(m)  Wrong  House 

(L)   Miscellaneous 

(n)   Nationality 

(0)    Dialect 

92.  AMUSEJvIENT  (Ew/fr/a/K- 

(p)    Hen-Pecked 

inent) 

(q)    Stupidity 

18s*  (a)   Pastime 

(r)    Mked  Babies 

(b)    Recreation 

(c)    Frolic 

183*  (s)    College- 

(d)   Antics 

(t)    Skit 

(e)    Lark 

(u)    Hoax 

(f)    Madcap 

(v)   Accident 

(g)    Games 

(w)  Fraud 

(h)   Sport 

(x)    Intoxication 

(i)    HoUday 

102 

THE   UNIVERSAL   PLOT   CATALOG — II 


0) 

Camping 

(k) 

Picnic 

G) 

Feast 

(m)  Festival 

(n) 

Carnival 

(0) 

The  Dance 

(P) 

Regatta 

l86*(q) 

Humorist 

(r) 

^^'it 

(s) 

Epigram 

(t) 

Pun 

(u) 

Drollery 

(v) 

The  Play 

(w)  Comedy 

(X) 

Caricature 

(y) 

Pantomime 

(z) 

Cartoons 

(A)  Puppet  Show 

(B)  Jester 

(C)  Cap  and  Bells 

(D)  Mountebank 

(E) 

Circus 

(F) 

Clown 

(G)  Toys 

(H)  Miscellaneous 

13.  PLEASURE  (/try) 

.87*  (a) 

Fancy 

(b) 

Whims 

(c) 

Sociability 

(d) 

GeniaUty 

(e) 

Optimism 

(0 

HonejTnooii 

(g) 

Beatitude 

(h) 

Palmy  Days 

(i) 

Jubilee 

G) 

Voluptuous 

(k)  Laughter 

188 


94- 

189^ 


0) 

Merriment 

(m: 

)  Song 

(n) 

Fun 

*(o)  Thankfuhess 

(P) 

Gratilkation 

(q) 

Contentment 

(r) 

Relaxation 

(s) 

Cheerfuhiess 

(t) 

Luxury 

(u) 

Fruition 

(v) 

Rapture 

(w)  Enchantment 

(x) 

Love 

(y) 

Happiness 

(z) 

Miscellaneous 

PATUOS  {Tragic  EiP. 

■(a) 

Failure 

(b) 

Disappointment 

(c) 

Too  Late 

(d) 

Sacrifice 

(e) 

Endurance 

(f) 

Hopelessness 

(g) 

Poverty 

(h) 

Melancholia 

(i) 

Doomed 

U) 

Tragedy 

(k) 

Sorrow 

(1) 

Suffering 

(m)  Emotion 

(n) 

Tears 

(0) 

Anxiety 

(P) 

Pining 

(q) 

Loneliness 

(r) 

Harrowing 

(s) 

Crushed 

103 


THE  UNIVERSAL  PLOT  CATALOG 


191' 


(t)    Contrast 

(A)  Broken  Heart 

(u)    Masquerade 

(B)  Regret 

(v)   Character 

(C)  Remorse 

(w)  Care 

(D)  Sympathy 

(x)    Shock 

(E)  Pity 

(y)   Ordeal 

(F)  Miscellaneous 

(z)    Desolation 

E.— NOT-MAN 

X.    The  Personification  of  Man. 

The  Humanizing  of  All  Creation,  Crea- 
tures and  Mythology  and  the  Appropri- 
ation of  their  Phenomena  as  Dramatic 
Material. 


95. 
192'' 


MATURE  {The  Elements) 

(t)    Polar  Regions 

(a)    Mountains 

(u)    Glacier 

(b)    Valleys 

(c)    Plains 

193*  (v)  Fire 

(d)   Oasis 

(w)  Heat 

(e)    Streams 

(x)    Volcano 

(f)    Forests 

(y)   Earthquake 

(g)    Equator 

(z)    Lightning 

(h)    Islands 

(A)  Meteor 

(i)     Seasons 

(B)  Cold 

(j)    Springtime 

(C)  Ice 

(k)   Cultivation 

(D)  Crevasse 

0)     Irrigation 

(E)  Snow 

(m)  Conservation 

(F)  Storm 

(n)   Harvest 

(G)  Wind 

(0)    Mines 

(H)  Cyclone 

(p)   Night 

(I)    Typhoon 

(q)    Caves 

G)    Flood 

(r)    Desert 

(K)  Falls 

(s)    Waste  Places 

(L)  Bog 

104 


THE   UNIVERSAL   PLOT  CATALOG — II 


(M)  Quicksand 
(N)  LandsUde 

(O)  Miscellaneous 

96.  THE  SEA  (Phenoinena) 
Jg4*  (a)  Mariner 

(b)  Tides 

(c)  Cruise 

(d)  Compass 

(e)  Log 

(f)  Wireless 

(g)  Pilot 
(h)  Haven 

(i)  Light-Ship 

(j)  Lighthouse 

(k)  Beacon 

(!)  Fisherman 

(m)  Lifesaving 

195*  (n)  Stowaway 

(o)  Submarine 

(p)  Iceberg 

(q)  Reefs 

(r)  Wreck 

(s)  Raft 

(t)  Adrift 

(u)  Derelict 

(v)  Flotsam  and  Jetsam 

(w)  Phantom 

(x)  Marooned 

(y)  Rescue 

(z)  Miscellaneous 

97.  THE  AIR  (The  Conquest) 
196*  (a)  Kite 

(b)  Balloon 

(c)  Dirigible 

(d)  Aeroplane 

(e)  Hydroaeroplane 


(f)  Lost 

(g)  Collision 
(h)  Battle 
(i)  Rescue 

98.  PERSONIFICATION 

ilhimanizalion) 

197*  (a)  City 

(b)  Village 

(c)  Crowd 

(d)  House 

(e)  Furniture 

(f)  River 

(g)  Tree 
(h)  Engine 

(i)    Automobile 

99.  ANIMALS  {Creatures) 
198*  (a)  Tame- 

(b)  Pets 

(c)  Horse 

(d)  Dog 

(e)  Cat 

(f)  Birds 

(g)  Fable 

(h)   Vivisection 

I39*(i)  Wild- 

(j)  Bull 

(k)  Stampede 

(1)  Rats 

(m)  Bats 

(n)  Ants 

(o)  Bear 

(p)  Wolves 

(q)  Lion 

(r)  Ape 

(s)  Snakes 

(t)  Scorpions 

(u)  Shark 


105 


THE  UNIVERSAL  PLOT  CATALOG 


lOO. 


200 


(v)   WTiale 

(j)    Dragon 

(w)  Dinosaur 

(k)   Grimn 

(x)    Miscellaneous 

(1)    Unicom 

(m)  Fairj'land 

MYTHOLOGY  {Not  Man 

(n)   Witches 

or  Beast) 

(0)    Giants 

*(a)    AUegoty 

(p)   Ogres 

(b)   Half-Gods 

(q)    Salamander 

(c)    Satyr 

(r)    The  Star  World 

(d)    Siren 

(s)    Star  Maiden 

(e)    Fauji 

(t)    Martians 

(f)    Myth 

(u)   Legends 

(g)    Mermaid 

(v)    Valkyries 

(h)   SeaSerper.t 

(w)  Primeval 

(i)    Fable 

(x)    Preliistoric 

106 


A  Scheme  that  merely  gratifies  its  in- 
ventor is  at  best  but  a  speculative  Theory; 
while  a  System  that  satisfies  the  student 
is  at  the  very  least  a  practical  Science. 

CHAPTER   X 

A  Fiction  Example  Illustrating  the 
Value  of  the  Catalog 

"a  weaver  of  dreams;"  its  classification 
and  analysis. 

FROM  the  foregoing  chapters,  it  is  not  to 
be  assumed  that  the  writer  of  this 
volume  has  devised  a  scheme  with  the  magical 
mechanical  properties  of  grinding  out  well- 
rounded  plots  from  misshapen  particles  of 
"material." 

All  said  and  done,  the  Catalog  is  only  a 
re-creator,  stimulator  and  tonic  for  those 
gifted  with  fictional  imagination.  It  takes 
for  granted  that  the  student  is  potentially  a 
creator  of  convincing  fiction  or  moving  drama, 
eloquent  prose  or  emotional  poetry.  It  not 
only  holds  the  mirror  up  to  the  innermost 
depths  of  the  writer's  soul,  but  it  also  moti- 

107 


THE  UNIVERSAL  PLOT  CATALOG 

vates  it  with  trains  of  thought  and  action  that 
carry  it  on  its  way  with  renewed  hope  and 
spirit.  The  Universal  Plot  Catalog  is  a 
Hand-book  of  Re-creation.  If  it  gives  a 
single  original  thought  that  might  have  been 
lost  to  the  student  without  its  aid,  it  has  not 
been  devised  in  vain. 

"A  Weaver  of  Dreams"  has  been  chosen 
as  an  exam_ple  because  of  the  fact  that  it 
had  its  inception  from  a  newspaper  clipping 
contained  in  the  author's  collection  of  plot 
material.  The  construction  of  the  plot  of 
this  story  will  illustrate  the  purely  stimulative 
and  suggestive  value  of  the  Catalog  as  op- 
posed to  the  wooden  method  of  appropriating 
material  "just  as  it  stands." 

{EX A  MPLE  21.)  GIRL  FINDS  A  S  UITOR  THR  U 
AN  EGG. — An  Egg  Packer  Writes  Her  Name  07i  One 
thai  Proved  to  be  Good  and  Receives  Her  Reward.  ...  // 
was  filed  under  Qi.  FARCE  {Broad  Comedy),  (z)  Court- 
ship. 

Obviously  here  is  a  comedy  idea.  Also  it 
suggests  a  variation  of  the  trite  story  of  a 
girl  finding  a  lover  by  means  of  a  message 
conveyed  thru  the  anonymity  of  her  daily 
employment.     Thus  the  clipping  would  have 

1 08 


A   FICTION   EXAMPLE 

been  filed  for  "future  reference"  had  it  not 
stimulated  an  idea.  The  basic  idea  seems 
never  to  pall  on  readers,  therefore  why  not 
devise  one  that  is  serious  and  yet  unique  in 
development.  The  clipping  was  thereupon 
filed  and  forgotten,  overshadowed  by  the 
more  important  train  of  thought  that  it  had 
brought  into  existence. 

2T,.  AVOCATION  {Occupation)  was  con- 
sulted, pausing  at  (d)  Labor.  Immediately 
container  45*  was  emptied.  There  were 
many  items  dealing  with  interesting  phases 
of  almost  every  variety  of  Labor.  THE 
SILK  WEAVERS  OF  FRANCE 
THREATEN  TO  STRIKE.  Weavers— here 
was  an  attractive  occupation.  Our  heroine 
could  weave  her  name  into  her  product! 
A  French  weaving  girl  was  appealing  too. 
There  was  the  objection,  however,  to  foreign 
stories.  Americans  must  be  introduced  to 
remove  the  stigma.  Artists  studying  in  Paris 
would  lit  into  the  fabric  most  naturally. 
24.  VOCATION  {Call),  (b)  Artist,  container 
46*  is  consulted  with  refreshing  results.  All 
the  artists  are  dreamers,  if  the  data  be  true. 
Our  plays  and  stories  likewise  emphasize  this 

109 


THE  UNIVERSAL  PLOT  CATALOG 

fact.     Why  not  make  our  heroine  the  dreamer 
instead,  and  vary  the  monotony? 

Dreamer,  70,  is  located  in  the  index  which 
directs  to  ROMANCE  {Day  Dreams).  Con- 
tainers 150*  and  152'^  are  sparkling  with 
gems  of  ideas.  Nothing  can  stop  the  flow 
of  ideas  now.  The  Catalog  has  bountifully 
fulfilled  its  mission.  It  is  replaced  on  the 
shelf  and  forgotten  in  the  welter  of  work. 

{EXAMPLE  22.)  The  following  brief  synopsis  was 
made  as  the  basis  for  t  lie  future  Complete  Plot:  A  WE  A  V- 
ER  OF  (SILKEN)  DREAMS.  .  .  .  A  fanciful  tale 
of  a  girl  in  a  silk  mill — a  girl  of  rare  fancies  and  prone 
to  dreams  atid  flights  to  the  stars  and  an  aptitude  for  sub- 
lime romance — 7ueai'es  her  wishes  and  dreams  into  the 
fabric  she  works  upon  and  then  thru  some  strange  power 
her  dreams  work  themselves  out  upon  the  wearer  of  the 
woven  garment — who  perhaps  traces  the  garment  back 
to  the  weaver  by  means  of  some  sign-manual — thus  she 
meets  him  of  her  dreains. 

The  story  itself  shows  that  man}-  of  these 
fancies  were  never  employed,  while  many 
that  are  not  mentioned  were  created  in  the 
building  of  the  plot. 


IIO 


A  Vv^EAVER   OF    DREAMS 

By 
HENRY  ALBERT   PHILLIPS 

(Published  in  The  National  Sunday  Magazine, 
October  29,  191 1.) 

E  stumble,  sometimes,  into  our  graves 
on  the  street;  Curie,  the  renowned 
inventor  of  radium,  did.  Our  fates  hang  on 
a  toss  of  the  penny  of  circumstance.  As 
for  ours — Gerard's  and  mine — I  went  out  one 
day  and  fell,  all  unknowingly,  into  the  pit  of 
Romance.  Still,  they  say  Romance  is  no 
more ! 

It  was  the  second  year  that  Gerard  and  I 
had  been  together  in  Paris,  living  in  one  of 
those  typical  ateliers  of  the  Quarter  *  A  large, 
bare  room,  up  four  flights  of  rickety  stairs, 
cheek  by  jowl  with  an  unsightly  company  of 
chimney  pots.  We  had  had  a  hard  winter 
of  it  with  the  wolf  literally  at  the  door,  in 
the  form   of  a  snarling,  rapacious  landlord. 

*  Italics  are  employed  thruout  the  story,  not  for 
emphasis,  but  to  distinguish  the  particular  matter 
discussed  in  the  notes. 

Ill 


THE  UNIVERSAL  PLOT  CATALOG 

Strange  as  it  may  seem,  it  was  I  who  earned 
most  of  the  meager  funds  that  kept  our 
bodies  and  souls  together  and  a  leaky  roof 
to  cover  them.  Poor  Gerard  fretted  and 
fussed  over  trivial  daubs  in  imitation  of  mine; 
but  the  inevitable  genius  would  creep  out 
like  a  jealous  mistress  and  make  a  botch  of 
them. 

(The  progressive  writer  will  clip  descriptive  matter  of 
scenes  that  seem  to  lend  themselves  especially  to  his  pur- 
poses.    These  are  filed  under  their  respective  heads.) 

He,  like  so  many  misguided  artists,  thought 
that  damp,  smelly  Paris,  somewhere  within 
sound  of  Montmartre's  hoarse  cries  and 
rumble,  would  bring  out  the  best  that  was 
in  him.  But  I  knew  better.  God's  open 
country  was  the  true  place  for  all  good  and 
beautiful  things  to  fructify  in.  The  seed 
of  genius  and  greatness  was  not  wanting; 
rather  the  soil  and  some  fortuitous  circum- 
stance which  was  yet  to  be  discovered.  I 
was  looking  fpr  that  circumstance. 

With  the  approach  of  Spring,  a  riot  of 
desire  broke  loose  in  me  to  get  up  and  leave 
Paris  and  to  carry  Gerard,  willy  nilly,  with 

me. 

112 


A   WEAVER    OF   DREAMS 

With  this  in  mind — one  afternoon  when  his 
blue  mood  had  become  too  infectious — I  fled, 
resolving  not  to  return  without  some  plan  of 
immediate  action.  And  yet  it  was  so  char- 
acteristic of  my  reckless  nature  of  those  days 
to  come  back  to  the  studio,  not  v/ith  a  definite 
plan  of  procedure,  but  instead  with  a  little, 
rich-hued  tapestry  for  which  I  had  paid  the 
last  franc  v/e  had  in  the  world !  Simply 
because  I  knew  it  would  delight  Gerard's 
rare  passion  for  color,  and  dissipate  his  fit  of 
melancholy! 

{A  filed  excerpt  on  the  effect  of  color  on  the  emotions  of 
certain  artistic  people,  stirs  a  thought  of  its  possible 
employment  in  the  construction  of  a  plot.) 

"It  is  beautiful  and  has  raised  my  spirits 
beyond  the  need  of  supper;  but  what  now — 
a  pauper's  plot  in  Pere  la  Chaise?"  he  ob- 
served, fondling  every  inch  of  the  tapestry. 

"No;  have  you  forgotten  our  inevitable 
pot-boilers?"     I  had  three  almost  finished. 

"Do  you  believe  in  fairies?"  he  exclaimed; 
and  when  I  looked  toward  him_  in  alarm — for 
jocular  remarks  were  not  in  his  line — I  found 
him  examining  a  little  strip  of  silk  v/hich  had 
been  sewn  to  the  edge  of  the  tapestry. 

113 


THE  UNIVERSAL  PLOT  CATALOG 

He  handed  it  to  me,  and  I  read  the  following: 

Jacques — 

If  you  believe  in  Romance,  come  to  Anconville. 
Ghisleine  awaits  you. 

Give  the  normal  youth  Romance  or  promise 
of  adventure,  and  he  will  move  mountains. 
Gerard  proved  to  be  a  whole  range  of  them; 
but  I  moved  him  to  Ancoiiville,  in  just  two 
weeks  from  the  day  I  bought  the  little  tapestry. 

{Favorite  fiction  localities — like  Paris — might  be 
ilhiminated  with  maps  of  their  envirotis  torn  from  maga- 
zines or  books.) 

"Don't  be  so  scrupulous,"  I  protested  to 
his  eternal  objections.  "To  me  it's  not 
Romance,  but  adventure.  I'm  an  adventurer 
pure  and  simple.  If  she  throws  her  heart 
at  my  feet  it  is  likely  to  be  trampled  on.  She 
shall  give  us  entree  to  her  yokel  class,  which 
I  shall  convert  into  pot-boilers,  and  from 
which  you  shall  draw  types  and  perhaps 
find  a  suggestion  for  your  great  picture." 

"But,  if  she  should  think  of  nothing  but 
Romance?     You  would  break  her  heart!" 

"Don't  worry,  Bobbs-boy;  if  love  making 
is  necessary,  she  shall  have  it  for  the  afore- 

114 


A   WEAVER   OF   DREAMS 

said  value  received.  Personally,  I  haven't 
much  pity  for  a  woman  who  deliberately  baits 
a  trap  for  a  man,  as  this  one  has  done.  I'm 
simply  going  to  perpetrate  a  little  fraud  at 
her  invitation — and  expense." 

(A  n  excellejil  detail  is  to  put  slips  of  paper  in  tlie  proper 
places  171  the  File,  bearing  notations  where  superb  descrip- 
tions have  been  read  and  may  be  found  at  length.) 

"It  must  at  least  make  a  pitiable  fool  of 
the  girl,"  he  persisted.  His  heart  was  a 
moat  of  tenderness  that  could  not  permit  a 
straw  of  cruelty  to  float  on  its  surface. 

And  as  fools  rush  In,  so  did  I,  conscience- 
less, laughing  and  singing. 

Well,  I  found  her! 

And  what  am  I  to  say  of  all  the  shame  and 
horror  that  pierced  my  heart  when  I  entered 
that  immaculate  room  all  fragrant  with 
fresh-picked  roses,  and  saw  there  on  a  snow- 
white  pillow  the  most  exquisite  head  in  all 
the  world!  Inside  the  aureole  of  golden 
tresses  was  a  face  more  delicate  than  Botti- 
celli's Simonetta,  and  eyes  that  dreamed 
beautiful — holy  things. 

(Small  lithographic  reproductions  of  great  art  subjects 
that  have  especial  stimulative  qualities  are  valuable.) 


THE  UNIVERSAL  PLOT  CATALOG 

So  this  was  the  weaving  girl — Ghisleine! 
She  was  the  very  antithesis  of  everything  my 
pitiless  mind  had  conceived.  A  fragile  young 
creature  hovering  on  the  edge  of  the  grave ! 

In  a  corner  stood  the  loom,  on  which  it  had 
been  her  strange  fancy  to  weave  the  dream  of 
her  life  and  send  it  out  into  the  world,  that  it 
might  reach  the  pure  heart  of  some  worthy 
man.  A  rom^ance  as  pure  and  holy  as  a  legend 
of  the  saints. 

{The  legends  of  the  saints  teem  with  suggestive  matter 
for  fictive  parallels  or  occasional  incidents  that  are  strong 
dramatic  motives  in  themselves.) 

"Jacques!"  Her  soft,  sweet  voice  struck 
like  fire  into  my  guilty  heart.  I  had  gained 
admission  by  that  name.  Involuntarily  I 
advanced.     "Ah,  Jacques,  you  have  come!" 

"I  am  not  Jacques!"  I  cried  in  anger  that 
anyone  should  think  that  I  was  worthy. 

"Not  Jacques? "  she  said  softly,  in  bewilder- 
ment. Then  it  was  that  I  began  truly  to 
realize  what  a  cruel  thing  I  had  done,  and 
what  difficulty  I  should  have  in  setting  matters 
straight  again. 

"No,"  I  said.  But  no  alternative  came  to 
my  mind;  helpless  pity  paralyzed  my  tongue. 

Il6 


A   WEAVER    OF   DREAMS 

"And  yet  how  can  that  be?  Madame 
Giraflam  said  Jacques.  And  in  this,  decep- 
tion were  impossible.  I  have  dreamed  of 
him  too  long — and  you  are  he!"  She  shook 
her  head  and  smiled  with  a  confidence  not 
to  be  refuted. 

I  had  gone  out  to  hunt  a  fawn  with  a  cud- 
gel, and  now  Vv^as  caught  in  a  trap  of  steel. 

"I  am  an  impostor!"  I  cried  in  agonized 
perplexity,  and  then  a  way  to  let  me  out  of 
her  life  occurred  to  me.  "I  came,  yes;  but 
why?  To  make  use  of  you,  to  make  a  fool 
of  you — you." 

"Ah,  you  would  try  to  deceive  me,  Jacques! 
That  is  not  possible. "  All  that  I  said  had 
not  made  the  slightest  impression. 

"Listen,  girl,  you  do  not  understand" — 
I  almost  groaned.  "It  vv^as  not  I  who  first 
found  your  message." 

"But  what  matters  that  since  you  are 
here?" 

What  was  I  to  say? 

"Tomorrov/  he  who  first  received  your  mes- 
sage— Monsieur  Robert — he  will  visit  you." 

"Leave  me  if  you  think  it  well;  send 
another  if  you  choose.     He  is  not  my  Jacques, 

117 


THE  UNIVERSAL  PLOT  CATALOG 

that  I  know.  But  I  shall  be  glad  to  see  him 
and  will  try  to  like  him. " 

"If  you  would  like  it,  he  will  paint  your 
portrait."  It  was  all  I  could  think  to  say 
at  the  time. 

"How  lovely!  And  you  will  always  stand 
near?     My  expression  shall  be  pleasant  then. " 

"No,  no,  no!"  I  cried,  with  a  sudden  over- 
whelming sense  of  my  unfitness  to  remain 
and  to  listen  to  more  of  her  hallucinations. 
"1  am  going  to  leave  Anconville!" 

(/«  medical  reports,  and  magazine  articles  by  doctors 
are  to  be  found  interesting  mention  of  the  phenomena  of 
hallucinations.     These  contain  ifiany  plot  germs.) 

At  this  she  seized  my  hand,  and  the  next 
instant  her  cool  lips  had  pressed  it! 

I  could  endure  the  torture  no  longer; 
drawing  my  hand  roughly  away  I  rushed  from 
the  house. 

I  hurried  back  to  the  Inn.  Dear  old 
Gerard  stood  at  the  door  to  meet  me. 

"Jaimie,  what  has  happened.''"  he  cried 
anxiously. 

I  told  him. 

"This  is  a  sad  business,  boy,"  he  said 
solemnly. 

Il8 


A   WEAVER    OF   DREAMS 

"Don't  misunderstand  me,  she  isn't  crazy. 
Here  are  the  hallucinations  of  the  born 
dreamer,  who  has  worn  the  barriers  to  the 
grave  so  thin  that  she  sees  thru  them  Beyond. 
She  hasn't  a  year  to  live,  poor  child,  I'll 
swear  to  it.  That  idea  of  Jacques  has  become 
part  of  her  life,  and  she  seized  on  me  like  a 
last  straw.  Just  what  it  is  she  thinks  of  me, 
God  knows.  Knowing  my  own  insincerity, 
I  can't  go  back  again  and  keep  up  the  tragedy. 
You  go,  Bobbs;  you're  more  fit.  Amuse  her; 
paint  her  portrait,  the  idea  seemed  to  please 
her.  I  must  stay  away.  I'd  only  succeed 
in  making  her  last  hours  miserable." 

"I'll  go.  There's  nothing  in  all  the  wide 
world  I  would'nt  do  for  you,  you  know  that. 
But  I  don't  like  it,"  he  protested. 

After  ten  days  of  it,  one  would  have  thouglit 
that  Gerard  and  I  had  deliberately  exchanged 
natures.  He  had  become  happy  and  buoyant, 
and  I  morose.  How  that  weird  little  experience 
with  Ghisleine  had  wrought  such  a  change  in 
me  was  beyond  my  comprehension.  By  nature, 
I  was  neither  sentimental  nor  thin  skinned. 

I  was  five  miles  from  Anconville,  moping 
along  the  river  bank  one  afternoon  six  weeks 

119 


THE  UNIVERSAL  PLOT  CATALOG 

later,  when  the  revelation  dawned  on  me.  I 
had  loved  Ghisleine  from  the  moment  of 
meeting  her! 

The  cruelty  and  selfishness  of  my  conduct 
brought  me  to  the  verge  of  tears.  My  place 
was  there  by  her  side — filling  her  room  with 
roses,  gladdening  those  precious  hours  with 
smiles,  cheering  her  with  every  breath. 

I  think  I  ran  all  the  v/ay  back  to  the  Inn. 

"Bobbs, "  I  cried,  out  of  breath  when  I 
found  him;  "Bobbs,  I'm  the  biggest  fool  in 
the  world." 

"  I've  come  to  the  same  conclusion,  Jaimie." 

"Why — v/hat  do  you  mean?"  I  asked,  in 
my  surprise  postponing  my  confession. 

"Simply,  that  the  girl  you  said  was  dying 
is  not  dying  at  all — now." 

"Ghisleine?"  I  asked  in  amazement,  as  tho 
there  must  be  some  mistake. 

"Ghisleine,"  he  assured  me.  "Why,  she 
has  improved  by  leaps  and  bounds  ever  since 
that  fortunate  hour  I  went  to  see  her.  Brace 
up  now,  isn't  that  splendid!" 

{Here  is  an  interesting  case  of  therapeutics  that  might 
have  been  suggested  or  based  upon  a  clipping  from  an 
article  discussing  the  Jiealing  value  of  Suggestion.) 

120 


A    WEAVER    OF   DREAMS 

"Thank  God!"  I  murmured.  "It  seems 
too  good  to  be  true!  And — and  does  she 
ever  ask  for  me,  Bobbs?" 

"Yes,  often;  and  when  I  tell  her  you  are 
here,  she  just  smiles  and  says:  'Oh,  he  will 
come;  Jacques  wnll  come!'  If  I  were  you, 
I'd  go  round  and  see  her.  I'll  wager  you'll 
scarcely  recognize  her." 

"Oh,  I  see,"  I  said;  but  my  enthusiasm 
had  lost  its  fire.  "And  have  you  attempted 
to  paint  her  portrait?" 

"A  portrait — and  something  greater,  Jaimie. 
I've  found  myself  in  this  picture,  boy.  The 
little  silk  tapestry  suggested  the  motif:  A 
frail,  exquisite  girl  sitting  at  a  loom,  her  eyes 
half  turned  upward  as  her  delicate  hands 
weave  the  figures  of  her  dream  into  a  gor- 
geous-hued  fabric  before  her!"  He  paused, 
breathless,  his  eyes  alight  with  tenderness. 

"A  weaver  of  dreams!"  I  murmured. 

"Excellent!     We  shall  call  it  that." 

"But  can  she  really  sit  for  you — the  long 
hours?"     It  seemed  incredible  to  me. 

"Only  once  have  I  had  her  sit  at  the  loom 
— for  a  rough  sketch.  Now  I  paint  her 
sitting  all  propped  up  in  a  wonderful,  shaded 

121 


THE  UNIVERSAX  PLOT  CATALOG 

bower  in  the  garden.  You  see,  the  soul  of 
the  picture  will  lie  in  that  wonderful  expres- 
sion that  never  leaves  her  face — that  of  a 
dreamer  who  waits  with  serene  confidence  for 
her  hour  of  awakening!" 

"For  her  hour  of  awakening!"  I  echoed 
with  a  sudden  access  of  rapture.  The  time 
had  come  to  tell  him. 

"And  what  message  do  you  suppose  will 
awaken  Ghislcine?"  he  asked;  taking  the 
words,  as  it  were,  out  of  my  mouth. 

"Love,"  I  said  simply;  and  before  he 
could  speak  I  added :  ' '  And  do  you  know  who 
— what  man — has  that  message?" 

"I  can  guess,"  he  returned,  smiling. 

Now  was  I  all  ready  to  overwhelm  him  with 
the  story  of  my  joy,  when  his  manner  sud- 
denly changed  to  one  of  trembling  solemnity 
and,  before  I  could  speak,  he  was  telling  me: 

"Why,  haven't  you  noticed  it  in  me, 
Jaimie-boy?  It's  changed  my  nature,  awak- 
ened my  power  for  big  things,  and  made  me 
the  happiest  of  men!     Jaimie,  I  love  her!" 

The  piercing  spasm  of  emotion  that  shot 
thru  me  brought  me  sharply  to  my  feet, 
tvhich  fortunately  thrust   my  face   into    the 

122 


A    WEAVER   OF   DREAMS 

shadow  that  the  waning  sun  was  casting 
over  the  tiny  room. 

"Well,  Jaimie — have  you  nothing  to  say?" 

"Congratulations!"  I  muttered,  and  he 
seized  my  listless  hand. 

"Why,  your  hand  is  like  ice,"  he  remarked 
solicitously;  but  in  the  next  breath  he  was 
singing  his  anthem  again:  "Jairnie,  Jaimie,  I 
at  last  know  what  happiness  is.  And  I  owe 
it  all — all — to  you.  You  promised  you'd 
bring  it  to  me — and  you  have." 

"I  should  be  happy,"  I  insisted. 

"And  you  are,  of  course.  I  know  you  too 
well,  Jaimie." 

"Yes,"  I  lied  bravely,  trying  to  recall  the 
sweet  face  that  I  could  never  hope  to  see  again. 

"  I  know  she  loves  me, "  Gerard  was  saying, 
his  voice  sweeping  painfully  across  the  dark- 
ness of  my  future  thru  which  my  thoughts 
were  groping.  "Why,  she  began  to  improve 
the  very  moment  I  went  to  her!  And  now — 
tonight  at  eight — we  shall  be  the  happiest 
pair  in  Anconville." 

These  last  words  gave  my  tired,  aching 
brain  an  idea.  I  had  nearly  an  hour  before 
eight.    When  Gerard  returned  from  his  tryst, 

123 


THE  UNIVERSAL  PLOT  CATALOG 

I  should  be  gone  from  Anconville — and  them 
— forever. 

"And  our  bridal  flowers  shall  be  roses!" 
he  exclaimed  suddenly,  echoing  my  latest 
thought,  and  all  unconscious  of  the  jagged 
wound  he  made.  For  this  word  "roses" 
must  ever  be  the  saddest  in  all  the  human 
language  to  me.  It  was  the  last  I  ever  heard 
from  the  lips  of  him,  my  dearest  friend. 

Thus  I  left  him,  seated  dreaming  of  his 
first-known  happiness  and  shrouded  in  the 
soft  twilight  shadows.  I  passed  out  un- 
noticed. A  sudden  cowardice  had  sprung 
up  in  my  heart  in  which  I  shrank  away  from 
that  brutal  word,  "good-bye." 

Renunciation  was  the  only  way.  I  loved 
them  both  too  much. 

It  was  early  candle-light  when  I  arrived 
before  Ghisleine's  home.  Quickly  I  slipped 
to  the  small  garden  beyond  the  house. 

As  I  entered  the  little  bower,  my  heart  beat 
painfully  at  the  thought  that  I  must  rest 
content  with  leaving  a  few  kissed  flowers — 
unguessed  and  unappreciated — to  deck  the 
altar  upon  which  I  was  being  sacrificed!     As 

124 


A   WEAVER   OF    DREAMS 

I   placed   them  on   the  rustic   table  I   could 
not  forebear  saying  softly,  "Ghisleine!" 

"Yes,"  answered  a  voice,  and  at  the  same 
instant — to  my  mingled  dismay  and  joy — 
Ghisleine  stepped  into  the  bower  beside 
me! 

"I  am  always  watching  and  waiting, 
Jacques;  and  from  the  window  I  saw  you 
come.  Scarcely  believing,  I  came  out  to  see. 
And,  oh,  how  thoughtful  of  you  to  bring  me 
the  flowers  I  most  love."  She  stooped  and 
pressed  her  face  deep  into  the  blossoms. 

All  the  while  I  stood,  thinking  of  nothing 
but  things  I  dared  not  utter. 

"You  see,  Jacques,  how  I  have  changed? 
I  put  my  every  breath  and  thought  into  a 
desire  for  health  and  strength — and  like  my 
knight,  they  too  have  come.    Look,  Jacques!" 

She  stepped  from  the  bower  and  stood  out 
bewitchingly  against  the  fading  light  of  the 
western  sky,  the  fairest  vision  I  ever  saw. 

"You  are  beautiful — wonderful!"  I  sighed. 

"I  am  glad,"  she  said  simply;  "Monsieur 
Robert  tells  me  that  many  times  a  day." 

Monsieur  Robert!  In  the  rapture  of  her 
presence  I  had  forgotten  Gerard,  the  sinister 

125 


THE  UNIVERSAL  PLOT  CATALOG 

reason    for    my    being    there.      And    now? 
What  was  I  to  do — to  say? 

"Ghisleine,  I  did  not  expect  to  meet  you 
when  I  came  here  tonight."  .  I  must  say 
something  to  those  dear  hungering  eyes. 

"No?"  she  asked,  in  what  seemed  hurt  sur- 
prise.    "Yet  you  bring  me  flov/ers,  Jacques?" 

I  bit  my  Hp  with  vexation,  and  then  came 
out  with  it:  "Yes,  they  were  to  have  been 
my  message  of  farewell. " 

"Farewell?"  she  murmured  in  bewilder- 
ment, and  then:  "I  don't  think  I  under- 
stand, Jacques,  my  mind  has  become  so 
tired." 

"  I  am  leaving  Anconville  tonight,  Ghisleine 
— forever. ' ' 

"Jacques!"  It  was  a  tiny,  birdlike  cry, 
more  from  deep  hurt  than  alarm.  Already 
two  small  hands  fluttered  on  my  sleeve.  I 
saw  that  I  must  end  it  now  all  at  once. 

"Good-bye,  Ghisleine." 

I  began  slowly  to  gather  enough  super- 
human power  to  move  away.  I  made  one 
more  efl'ort  to  break  thru — possibly  to  crush — 
her  maddening  simplicity. 

"Ghisleine,  I  must  go  away.     If  I  stay,  I 

126 


A   WEAVER    OF   DREAMS 

shall  spoil  your  happiness — and  Robert's 
— and  ruin  the  lives  of  all  of  us!" 

"Jacques,  if  you  go  away  I  shall  die!" 

"Ghisleine!  Ghisleine!"  I  cried  in  anguish, 
looking  into  her  upturned,  pleading  eyes. 
There  was  something  in  them  that  arrested 
my  breath,  something  to  which  my  strength 
of  purpose  must  have  been  blinded  till  now. 
Even  then,  with  the  specter  of  Robert's 
hopeless  love  staring  me  in  the  face,  it  was 
never  my  intention  to  take  her  in  my  arms 
and  smother  her  glad  cry  on  my  breast. 

"Ah,  Jacques!"  she  sighed  softly,  as  I 
drew  her  close  and  kissed  her  again  and  again, 
heedless  of  the  passing  time. 

Then  there  came  a  moment  when  I  fancied 
that  a  shadow  fell  across  the  entrance  of  the 
bower  and  with  it  a  sigh,  freighted  with  a 
pain,  that  must  have  come  from  other  lips 
than  ours.  It  took  me  a  moment  to  shake 
off  the  glamor  of  it  all. 

"Someone  was  there,"  she  said  shyly. 

With  a  sinking  heart  I  pulled  out  my  watch, 
the  face  of  which  I  could  just  discern.  It  was 
five  minutes  past  eight! 

Robert  Gerard   had  come  with  a  singing 

127 


THE  UNIVERSAL  PLOT  CATALOG 

heart  at  eight,  to  find  the  woman — in  whom 
lay  all  his  new-found  happiness — in  the  arms 
of  his  best  friend! 

"Poor  Bobbsi"  I  muttered;  "Poor  old 
Bobbs!"  Something  choked  further  utter- 
ance. True,  I  had  given  him  happiness,  and 
then  had  stolen  it  from  him.  Yet,  I  knew 
that  he  understood  all,  and  would  do  just  as 
I  had  intended  to  do. 

"Monsieur  Robert  will  be  here  soon — at 
eight,"  she  was  saying  happily.  "I  thought 
it  was  he  then.  " 

"Ghisleine,  Robert  v/ill  not  come  tonight — ■ 
nor  tomorrov/." 

"Not  coming?"  she  pouted,  keenly  dis- 
appointed. "And  I  had  so  wanted  to  tell 
him — this.  For  weeks  I  have  wanted  to  tell 
him  what  was  gladdening  and  saddening  my 
heart.  And  now  you  say  that  you  expect 
him,  and  now  that  he  is  gone!  Ah,  Jacques, 
I  fear  that  of  all  the  things  that  have  hap- 
pened I  was  able  to  understand  but  one — 
that  you  would  come  to  me!" 


128 


Valuable  Plot  Material  mislaid  be- 
comes an  obstacle — instead  of  an  alli- 
ance— in  plot  buiMing. 

CHAPTER  XI 

Index  of  Plot  Subjects 

alphabetized  with  cross  references. 


Abdication  -  43 
Abide  -  26 

Absent- Mindedness  -  91 
Absolute  -  74 
Absolution  -  82 
Abuse  -  58 
Accident  -  61,  75,  91 
Accusation  -  53 
Achievement  -  III  -  27 
Acquittal  -  54 
Actor  -  24 
Adolescence  -  5 
Adoption-  15 
Adoration  -  84 
Adrift  -  96 
Advantage  -  25 
Adventure  -  21,  70 
Adventurer-  21 
Adventuress -21 
Advertisement  -  28 


Aerial  -  41 
Aeroplane  -  97 
Affection  -  12 
Affianced  -  1 2 
Affinity-  12 
Affliction  -  44 
After  Death  -  62 
Age -I,  14,  60,  70,  73 
Agitator  -  24,  35 
Aid  -  40,  59 
Air  -  97 
Alarms  -  38 
Alienation-  18 
Alienist  -  73 
Allah  -  90 
Allegory -71,  100 
Alleviation  -  59 
Alliance  -  34 
Alms  -  47,  83 
Altruism-  II 


139 


THE  UNIVERSAL  PLOT  CATALOG 


Alumni  -  66 
Amazon  -  39 
Ambition-  III -29 
Ambush  -  41 
Amity-  11 
Amor  Patriae  -  38 
Amulet  -  87 
Amusement  -  92 
Anarchy  -  37 
Anesthetic  -  59 
Ancestor- Worship  -  14 
Ancestry-  16 
Ancient  -  3 
Anecdote  -  28 
Angel  -  89 
Anglican  -  78 
Animals  -  99 
Animation  -  4 
Anniversary  -  46 
Annulment-  13 
Antagonists  -  IV 
Anthem  -  38 
Anti-Christ  -  88 
Antics  -  92 
Antiquarian  -  46 
Ants  -  99 
Anxiety  -  94 
Ape  -  99 
Aphasia  -  73 
Apostate  -  87 
Apotheosis  -  89 


Application-  VII 
Appropriation  -  X 
Arbitration  -  45 
Arcadia  -  70 
Argument  -  68 
Aristocracy  -  31 
Aristocrat  -  33 
Armageddon  -  42 
Arms  -  37 
Army  -  22,  41 
Arrest  -  54 
Art -32,  45 
Artist  -  24 
Artistic  -  27 
Asceticism  -  86 
Ashes  -  62 
Aspiration  -  B  -  29 
Assassin  -  52 
Assassination  -  37 
Astrology  -  65 
Astronomy  -  67 
Asylum  -  73 
Atavism  -  i 
At  Bay  -  41 
Atheist  -  88 
Atonement  -  81 
Attack  -  41 
Auction  -  1 7 
Auld  Lang  Syne-  1 1 
Authentic  -  74 
Author  -  69 


130 


INDE3<:   OF   PLOT   SUBJECTS 


Automobile  -  98 
Auto-Suggestion  -  71 
Avenger  -  42 
Avocation  -  23 
Ax -55 
Aztec  -  I 

Baby-  15,  91 
Bachelor  -  5 
Backbone  -  49 
Back  Home-  17 
Backslider  -  81 
Back  to  the  Farm  -  20 
Bail  -  54 
Balloon  -  97 
Band  -  34 
Bandit  -  52 
Bankruptcy  -  22 
Banshee  -  64 
Battle -41,  61,  97 
Barbaric  -  9 
Battle  Cry  -  41 
Bats  -  99 
Beacon  -  96 
Bear  -  99 
Beast  -  99,  100 
Beatitudes  -  76,  93 
Beau  -  30 
Beauty -6,  13,  57 
Beggar  -  23 
Beggary  -  47 


Believe  (Make)  -  70 
Belles  -  30 
Belles-Lettres  -  69 
Bench  (The)  -  54 
Benefaction  -  il 
Betrayal-  18,  53 
Bible  (The)  -  76,  80 
Bigotry  -  86 
Bill  of  Health  -  57 
Biography  -  4 
Birds  -  99 
Birth  -  2 
Birth  Day  -  2 
Birth  Mark  -  2 
Bishop  -  79 
Bitterness  -  43 
Black  -  9 
Black  Art  -  65 
Black  Hand  -  52 
Blackmail  -  52 
Black  Sheep  -  16 
Blasphemy  -  88 
Blessedness  -  89 
Blind  Faith  -  82 
Blindness  -  60 
Blight  -  58 

"  Blood  Will  Tell"  - 49 
Bloom  -  57 
Blunder-  13,  22,  41 
Body  (Home)  -  17 
Bog  -  95 


131 


THE   UNIVERSAL    PLOT   CATALOG 


Bohemian  -  lo 
Bombs  -  37 
Bona  Fide  -  74,  82 
Bonds  (The)  -  30 
Book- Worm  -  69 
Books  -  66,  69 
Boycott  -  35 
Brahma  -  90 
Brain-Storm  -  73 
Branded  -  56 
Bread  Line  -  22 
Bread-Winner  -  5 
Breath  -  4 
Breeding-  10 
Bribe  -  48 
Bribery  -  54 
Broad  Comedy  -  91 
Broken  Heart  -  22,  61, 
Brotherhood  -  34,  83 
Brothers-  16 
Brute -5,  51 
Bubble  -  28 
Buddha  -  90 
Buddhist  -  77 
Buffoonery  -  91 
Bunco  Steerer  -  52 
Bull  -  99 
Burglar  -  52 
Buried  Treasure  -  47 
Burial  -  62 
Burlesque  -  91 


Burning  Ghat  -  62 
Business  -  23,  25 
Butt  -  91 
By-Gones  -  70 

Cabal  -  34 
Cad  -  30 
Cadaver  -  62 
Calamity  -  44 
Call  -  24,  79 
Call  to  Arms  -  37 
Campaign  -  40 
Camping  -  92 
Canaille  -  34 
Cannibals-  21 
Cap  and  Bells  -  92 
Captive  -  43 
94      Capture  -  53 
Cardinal  -  79 
Care  -  94 
Career  -  29 
Caricature  -  92 
Carnival  -  92 
Cartoons  -  92 
Caste  -  30 

Castles  in  Spain  -  70 
Catacombs  -  62 
Catholic  -  78 
Cat  -  99 

Cause  and  Effect  -  63 
Cavalier  -  70 


INDEX   OF   PLOT    SUBJECTS 


Caves  -  95 
Cave-Man  -  i 
Celibacy  -  79 
Cemetery  -  62 
Certainty  -  74 
Challenge  -  41 
Chair  -  55 
Champion  -  27 
Chance  -  75 
Chaperon  -  10 
Character  -  V  -  49,  73, 

94 
Charge  -  41 
Charity  -  1 1 ,  83 
Charlatanism  -  65 
Charnel  House  -  62 
Chastisement  -  55 
Cheerfulness  -  93 
Chemistry  -  67 
Chief  -  33 
Child  Labor-  15 
Childless-  13 
Child  Life- 15 
Children-  15,  16 
Children's  Court  -  54 
Chivalry  -  10,  70 
Christ  -  80,  90 
Christian  -  77 
Christian  Science  -  78 
Christmas  -  83 
Chronology  -  46 


Church  -  32,  78,  84 
Circus  -  92 
Citizen  -  7 
City  -  48,  98 
Civility  -  10 
Civilized  -  9 
Clan  -  34 
Clandestine  -  12 
Cleanliness  -  57 
Climber  -  30 
91,      Clique -34 

Clod -7 

Cloth  (The)  -  79 
Clothes  -  29,  50 
Clown  -  91,  92 
Club  -  34 
Clue  -  53 
Code  -  19 
Co- Ed  -  66 
Coffin  -  62 
Coincidence  -  26 
Cold  -  95 
College-  66,  91 
Collision  -  97 
Colonist-  21 
Combat-  36,  51 
Combatant  -  59 
Comedy -91,  92 
Commandments  -  76 
Commerce  -  32 
Committee  -  34 


THE  UNIVERSAL  PLOT  CATALOG 


Communication-  19 
Compass  -  96 
Compassion  -  49 
Competition  -  25 
Comprehension  -  80 
Comrades  -11 
Conceit  -  28 
Concord  -  45 
Condition  -  7 
Confederate  -  52 
Confession  -  53,  82 
Conflict  -  41 
Confucianism  -  77 
Congeniality  -  1 1 
Conqueror  -  42 
Conquest  -  42,  97 
Conscience  -  53,  56,  8x 
Conscript  -  39 
Consecration  -  79 
Consequence  -  75 
Conservation  -  95 
Contagion  -  60 
Contamination  -  58 
Contemporaneous  -  32 
Contentment  -  8,  93 
Contrast -91,  94 
Convalescence  -  59 
Convention  -  10 
Conversion  -  82 
Convict  -  55 
Conviction  -  54,  68,  82 


Copy  -  69 

Co-Respondent  -  18 
Corporation  -  25 
Corpse  -  62 
Correction  -  55 
Cost  (The)  -  27 
Counterfeiter  -  52 
Countersign  -  39 
Courage  -  39 
Court  -  54 
Courtship  -  12,  91 
Covetousness  -  50 
Coward  -  39 
Crank  -  73 
Creation  -  A  -  I,  X 
Creator  -  76 
Creatures  -  X  -  99 
Credit  -  27 
Credulity  -  64,  68 
Creed  -  77 
Cremation  -  62 
Crevasse  -  95 
Crew  -  34 
Crime  -  22,  52,  58 
Cripple  -  15,  60 
Crisis  -  26 
Critical  -  26 
Crook  -  23 
Cross -40,  80 
Cross  Examination,  54 
Crowd  -  98 


134 


INDEX    OF   PLOT   SUBJECTS 


Cruelty-  13,  44,  61 
Cruise  -  96 
Crusade  -  24 
Crusaders  -  86 
Crushed  -  94 
Cry  (Battle)  -  41 
Crystal  Gazing  -  65 
Cui  Bono  -  63 
Cultivation  -  95 
Cults -65,  87 
Cure  -  79 
Curiosity  -  66 
Curse-  71 
Cursed  -  64 
Customs-  ID,  16 
Cyclone  -  95 

Damnation  -  88 
Dance  -  40,  92 
Dark  Ages  -  70 
Darkey  -91 
Darwinian  Theory  -  i 
Date  -  3 
Daughter-  15 
Day  -  2,  26,  66,  84,  92,  93 
Day  (Problems  of  the)  - 

63 
Day  Dreams  -  70 
Deacon  -  79 
Death -44,  VI -61,  62 
Death  Bed  -  61 


Death-House  -  61 
Death  Sign  -  54 
Death-Watch  -  62 
Debate  -  68 
Debt  -  22,  47 
Deceit  -  50 

Deception-  13,  65,  87 
Decline  -  58 
Decoy  -  53 
Deduction  -  53,  74 
Deeds  -  49 
Defeat  -  43 
Defectives-  15,  73 
Defence  -  40,  54 
Deference  -  10 
Defiance  -  38 
Definite  -  74 
Degenerate  -  49,  51 
Degrading  -  27 
Delineation  -  4 
Delirium  -  73 
Delusion  -  87 
Demagog  -  33 
Democracy  -  33 
Demons  -  68 
Derangement  -  73 
Derelict-  22,  96 
Dervishes  -  86 
Description  -  69 
Desecration  -  88 
Desert  -  95 


135 


THE  UNIVERSAL  PLOT  CATAXOG 


Desertion  -  18 
Desire -I,  II,  III,  IV, 

VI,  VII,  VIII 
Desolation  -  94 
Despair  -  73 
Despot  -  33 
Destination  -  89 
Destiny  -  C  -  75 
Destitution  -  62 
Destroyer  -  44 
Detection  -  53 
Detective  -  53 
Deterioration  -  B 
Devastation  -  44 
Devotion  -  84 
Dialect  -  91 
Diary  -  69 
Dictator  -  33 
Dictograph  -  53 
Dinosaur  -  99 
Diploma  -  27 
Diplomacy  -  45 
Dirigible  -  97 
Disappointment  -  94 
Disclosure  -  74 
Disciple  -  82 
Discipline  -  55 
Discontent  -  35 
Discord  -  35 
Discovery  -  46,  53,  67 
Discrimination  -  25 


Disease  -  VI  -  60 
V,      Disgrace  -  22 
Disguise  -  53 
Disillusionment  -  87 
Disorder  -  73 
Dispersion  -  43 
Disposition  -  8 
Dissection  -  62 
Dissension  -  35 
Dissipation  -  58 
District  Attorney  -  54 
Diversion  -  IX 
Divining  Rod  -  65 
Divinity- VIII -90 
Division  -  35 
Divorce-  1 8 
Doctor  -  59 
Doctrine  -  77 
Dog  -  99 
Doge  -  33 

Domination-  71,  IX 
Dominion  -  33 
Do-Nothing  -  25 
Doom  -  44,  75 
Doomed  -  94 
Double  Life  -  53 
Doubles  -  8 
Dragon-  100 
Dram.a  -  69 

Dram.atic  Material  -  X 
Dreamer  -  70 

136 


INDEX   OF    PLOT    SUBJECTS 


Dreams  -  64,  70,  72 
Dregs  -  30 
Drink -51 
Drollery  -  92 
Drunken  (Fight)  -  36 
Drugs-  51 
Dual  Personality  -  8 
Duel  -  56 
Dungeon  -  43,  55 
Duty  -  83 
Dwarf  -  60 
Dynamite  -  57 
Dynamiter  -  53 

Early  Fathers  -  79 
Earner  (Wage)  -  6 
E^arthquake  -  93 
Eavesdropper  -  50 
Economic  -  63 
Exlitor  -  69 
Editorial  -  28 
Education  -  45,  66 
Effect  -  67,  75 
Effect  of  Suffrage -17 
Egotism  -  8 
Egyptians  -  i 
Electricity  -  67 
Elements  -  95 
Elopement-  12 
Elysian  Fields  -  89 
Emotional  History  -  69 


Emotions  -  IX  -  94 
Emperor  -  33 
Empty  Promises  -  48 
Enchanted  -  64 
Enchantment  -  93 
End  -  3,  75 
Endowment  -  49 
Endurance  -  3,  94 
Enemies  -  35 
Engine  -  98 
Enigma  -  63 
Enlightenment  -  74 
Entertainment  -  92 
Enticement  -  48 
Environment  -  49 
Envy  -  50 
Ephemeral  -  4 
Epigram  -  92 
Epitaphs  -  62 
Epoch-  3 
Equator  -  95 
Error(s)  -  50,  54,  6r 
Escapade-  15 
Escape -21,  43,  55 
Essay-  69 
Estate  -  62 
Estrangement-  18 
Eternal  -  4 
Eternal  Lover-  12 
Eternity  -  3.  89 
Ethics  -  63 


137 


THE  UNIVERSAL  PLOT  CATALOG 


Eugenics  -  14,  57 
Evangelists  -  80 
Evasion  -  54 
Events  -  4 
Eviction-  17 
Evidence  -  53,  54 
Evil  -  88 
Evil  Passion-  51 
Evil  Portents  -  64 
Exactitude  -  74 
Exaggeration  -  70 
Examination  -  54 
Exchange  -  43 
Exclusion-  18 
Excommunication  -  86 
Ex-Convict  -  56 
Execution  -  44,  55,  61 
Executioner  -  23 
Exhumation  -  62 
Exile-  18,  43 
Existence  -  I  -  4 
Exorcism  -  88 
Expectation  -  70 
Expedition  -  40 
Experience  -  4 
Experiment  -  67 
Explanations  -  20 
Exploit  -  21 
Exploration  -  21,  32 
Exposure  -  53 
Expression  -  66,  69 


Expulsion-  18 
Extermination  -  44 
Extinction-  61 

Fable  -  99,  100 
Faction  -  34 
Failure  -  22,  94 
Fairies  -  70 
Fair>-land-  100 
Faith  -  82 
Fails  -  95 
False  Report  -  28 
Fame  -  29,  32 
Fame  Over  Night  -  32 
Family  -  II  -  16,  29 
Family  jars-91 
Famine  -  44 
Fanatic  -  38 
Fanaticism  -  86 
Fancy  -  70,  93 
Farce -91 
Farm  -  20 
Fascination  -  71 
Fashion  -  6,  91 
Fatalism  -  73 
Fate -72,  75 
Father-  12,  14,  60,  79 
Faun  -  100 
Favorite-  15 
Fear -71,  73 
Feast  -  92 


138 


INDEX   OF    PLOT   SUBJECTS 


Felicity  -  l6 
Felony  -  52 
Female  -  6 
Feminism  -  6 
"Fence  "-52 
Festi\'al  -  92 
Feud  -  16,  36 
Fiction  -  69 
Fidelity  -  13 
Fight  -  36 
Filial  -  12 
Finger  Print  -  53 
Fire-  17,  41,  61,  95 
Fire-Bug  -  52 
Fireside  -  17 
First  Aid  -  59 
First-Born  -  2 
First  Offence  -  55 
Fisherman  -  96 
Fitness  -  10 
Flag -38 
Flesh  -  VI 
Flirt  -  6 
Flock  -  79 
Flood  -  95 
Flotsam  and  Jetsam 
Foible  -  50 
Foolhardy  -  21 
Forebear  -  14 
Forests  -  95 
Forever  -  3 


-96 


Forgery  -  48 

Forgiveness-  11,  20,  45,  83 
For  Life  -  55 
Forsaken  -  14 
Fortune  -  47 
Fortune  Telling  -  65 
Foul  Play  -  61 
Foundling  -  2 
"Four  Hundred" -30 
Frame-Up  -  53 
Fraternity'  -  34 
Fraud  -48,  65,  91 
Fray  -  36 
Freak  -  73 
Free  Love  -12 
Freeman  -  7 
Free  Will  -  63 
Friend  in  Need  -11 
Friendship  -11 
Frightened  -  61 
Frolic  -  92 
Fruition  -  93 
Fugitive-  18,  43,  53,  55 
Fun  -  93 
Funeral  -  62 
Furniture  -  98 
Future -3,  26 
Future  State  -  89 


Galleys  -  55 
Gambler  -  51 


139 


THE   UNRrERSAL   PLOT   CATALOG 


Games  -  92 

Gang  -  36 

Gangster  -  52 

Garotte  -  55 

Gas  -  41 

Gems  -  47,  48 

Generosity  -  49 

Geniality  -  93 

Genius  -  68 

Gentleness  -  49 

Genuine  -  74 

Ghosts  -  64 

Ghouls -44,  62 

Giants  -  100 

Gibbet  -  55 

Gifts  -  13,  "jZ 

Girl  -  6,  91 

Glacier  -  95 

Gladiator  -  36 

Glitter  -  48 

Glory  -  32,  48 

Goal  -  89 

God  -  VIII  -  90,  75,  100 

Godliness  -  83 

Gold  -  47 

Golden  Age  -  70 

Good  Name -49 

Gossip  -  28,  50 

Gourmand  -  50 

Government  -  32 

Grace  -  89 


Graft  -  48 
Grafter  -  50 
Grammar  -  69 
Grand  Parent  -  14 
Gratification  -  93 
Greed  -  50 
Greek  (Church)  -  78 
Griffin  -  100 
Guillotine  -  55 
Guilt -53,  71 
Gypsy  -  9 

Habit-  10,  51,  58 
Habitation  -  17 
Hack  -  69 
Half-Gods  -  100 
Handicap  -  25 
Hand-to-Hand  Combat  - 

36 
Happiness-  II,  93 
Happy  Hunting  Ground 

89 
Happy  Marriage  -  13 
Hard  (Character)  -  49 
Hard  Heart  -  50 
Harem-  13 
Harrowing  -  94 
Harvest  -  75,  95 
Hatred  -  5,  50 
Haunted  -  64 
Haven  -  96 


140 


INDEX   OF    PLOT   SUBJECTS 


Hazard -21,  75 
Healer  -  87 
Healing -82 
Health  -VI -57 
Hearse  -  62 

Heart- H -22,  50,  61, 
Heat  -  95 
Heathen  -  88 
Heaven  -  89 
Heir -15,  47,  62 
Heirlooms-  16,  62 
Heliograph  -  19 
Hell  -  88 
Hen-Pecked-91 
Heredity  -  60 
Heritage  -  2 
Heretic  -  87 
Hero -15,  38 
Heroine -21 
Heroism  -  39 
Hermit-  10 
Hierarchy -31,  33 
High  (Birth)  -  2 
Hired  Girl -91 
Hireling-  47 
History  -  46,  69 
Hoax -91 
Hold-Up  -  52 
Holiday  -  92 
HoUowness  (Society)  - 
Holy  Days  -  84 


Holy  Grail  -  85 

Holy  War  -  86 

Homage-  31 

Home-  17 

Home  Body-  17 
94      Homeless -6,  17 

Homeliness  -  6 

Home-Making-  17 

Home  Seekers-  17 

Home  Town  -  17 

Honesty  -  27 

Honeymoon  -  13,  93 

Honor  -  32,  49 

Hoodoo  -  64 

Hope  -  82 

Hopelessness  -  94 

Horde  -  34 

Horror  -  44 

Horse  -  99 

Hospital  -  59 

Hostages  -  42 

Hostilities  -  40 

House -55,  58,  61,  62,  91, 
96,98 

Huguenot  -  78 

Hulks -55 

Humanization  -  98 

Humanizing-  X 

Human  Sacrifice  -  88 
30       Humility  -  83 

Humor  -  D 

141 


THE   UNIVERSAL   PLOT   CATALOG 


Humorist  -  92 
Hunchback  -  60 
Hungry  Heart  -  12 
Hunter -21,  89 
Husband  -  13 
Hydro- Aeroplane  -  97 
Hypnotism  -  71 
Hypocrite  -  88 
Hysteria  -  73 

Ice  -  95 
Iceberg  -  96 
Iconoclast  -  30 
Idealism  -  70 
Identification  -  53 
Identity-  8,  91 
Idiot  -  73 
Idle  Rich  -  47 
Idolatry  -  88 
Ignorance  -  VII  -  66 
Illegitimate  -  2 
Illicit  (Love)  -  12 
Imitation-  10 
Immemorial  -  3 
Immigrant  -  18 
Immortality  -  89 
Impassioned  -  IX 
Impersonation  -  8 
Impotency  -  22 
Impurity  -  58 
Inanition  -  48,  58 


Incense  -  84 
Incognito -21 
Incorrigible-  15 
Incredulity  -  66 
Incurable  -  60 
Indian  -9 

Individuality  -  I  -  8 
Indolence  -  22 
Induction  -  53 
Industries  -  45 
Inefficient  -  22 
Inevitable  -  75 
Inexorable  -  75 
Infallible  -  74 
Infatuation-  12 
Infection  -  60 
Infelicity-  18 
Infinite-  C 
Ingrate  -  49 
Injustice  -  54 
-In-Laws  (Family)  -  16 
Innocence  -  6,  15,  53 
Innocent  -  55 
Inquiry  -  C  -  66 
Inquisition  -  86 
In  Print  -  28 
Insanity  -  73 
In  Season  -  26 
Insomnia  -  73 
Inspiration  -  69,  80 
Instigation  -  35 


142 


INDEX    OF   PLOT   SUBJECTS 


Instinct  -  14,  66 
Insult  -  35 
Insurance-  62 
Intellect  -  68 
Intercession  -  84 
Inter-Marriage-  13 
International  (War) 
Internecine-  40 
Interment  -  40 
Interpretation -77 
Intervention -40 
Intestate -62 
In  the  Rut -22 
Intoxication  -91 
Intrigue  -  16 
Intuition-  68 
Invasion  -  40 
Inventor  -  67 
Inviolable  -  74 
Irrevocable-  18,  75 
Irrigation  -  95 
Islands  -  95 

Jealousy  -  50 
Jester  -  92 
Jesuit  -  79 
Jetsam  -  96 
Jew  -  9,  77 
Jewels  -  47,  48 
Jilt -18 
Jokes  -  91 


Journalism  -  69 
Jove  -  90 

Joy -57.  93 
Jubilee -93 
Judge -54 
Jury -54 
40        Justice -54 
Juvenile -70 

Keeper -'55 
Kidnapper  -  52 
Kin -16 
King  -  33 
Kiss-  12 
Kite  -  97 
Kleptomania  -  51 
Knights  -  70 

Knocks  but  Once  (Oppor- 
tunity) -  26 
Knowledge- VII -67,  74 
Koran  -  76 

Labor-  15,  23,  35,  63 

Lady  Killer  -  5  ' 

Land -29,  41,  100 

Land-Poor  -  47 

Landslide  -  95 

Lark  -  92 

Last-Rites  of  the  Church 

-84 
Laughter  -  93 
Law  -  52,  54,  63 


THE  UNIVERSAL  PLOT  CATALOG 


Law  Suit  -  54 
Lawyer  -  54 
Leadership  -  29 
League  -  34 
Learning  -  69 
Legally  Dead  -  62 
Legends  -  46,  85,  100 
Leprosy  -  60 
Lese  Majeste-  41 
Letters-  12,  19,  32,  69 
Liar  -  50 
Liberty  -  42 
Library  -  69 
License  -  35 
Life -4,  15,  55 
Life  Saving- 96 
Lighthouse  -  96 
Lightning  -  95 
Light-Ship  -  96 
Likeness-  1 6 
Lion  -  99 
Literal  -  74 
Literati  -  69 
Literature  -  69 
Loafer  -  49 
Loan  Shark  -  47 
Loneliness  -  14,  15,  94 
Longevity  -  4 
Log  -  96 
Loot  -  43,  52 
Lord  and  Master  -  5 


Lost-  15,  18,  97 
Lost  Fortune  -  47 
Lot  -  75 
Lothario-  12 
Lourdes  -  82 
Love-  12,  59,  70,  93 
Love  Letters-  12 
Lovelorn-  12 
Love  Potion  -  70 
Lover-  12 
Low  (Birth)  -  2 
Loyalty  -  38,  49 
Luck  -  26,  27,  47,  64,  75 
Luckstone  -  65 
Ludicrous  -  IX 
Lure  -  29 
Lust-  18,  51 
Luxury -7,  V-48,  93 
Lying  in  State  -  62 
Lynching  -  55 

Madcap  -  92 
Magazines  -  69 
Magic  -  65 
Make-Believe  -  70 
Malcontent  -  35 
Male  -  5 

Man- 1 -5,  n.  in,  IV,  V, 
VL  viL  vin,  IX,  X 

Maniac  -  73 
Man-Made-Law  -  54 


144 


INDEX    OF   PLOT   SUBJECTS 


Man  of  the  Hour  -  26 
Manuscript  -  69 
Mariner  -  96 
Mark  -  2 
Marooned  -  96 
Marriage  -  13 
Martians-  100 
Martyr -13,    15,    38,    6 

82,  85,  86 
Masquerade  -  6,  94 
Mass-  84 
Massacre  -  44 
Masses  (The)  -  30,  33 
Master  -  5 
Masterpiece  -  32,  69 
Matchmaker  -  19 
Material  -  27,  X 
Maternity  -  14 
Mathematics  -  74 
Meanness  -  49 
Medal  -  27 
Mediation-  45 
Medicine  -  59 
Medicine  Man  -  87 
Melancholia  -  73,  94 
Melodrama  -  69 
Melting  Pot  -  9 
Memories-  71 
Memory  -  19,  73 
Men  are  like  Sheep  -  71 
Mercenary  -  39 


Mercy  -  83 
Merit  -  27 
Mermaid  -  1 00 
Merriment  -  93 
Mesalliance  -  13 
Messiah  -  76 
Message  -  19 
I,       Metaphysics  -  72 
Meteor  -  64,  95 
Microbes  -  60 
Middle  Ages  -  70 
Might  -  IV 
Militia  -  37 
Mind-Vn-91 
Mines-  41,  95 
Minister  -  79 
Miracles  -  72,  82,  84,  85 
Misanthrope  -  50 
Miscegenation  -  13 
Mischief-  15 
Miser  -  47 
Misfortune  -  47 
Mishap  -  22 
Missing  Link  -  i 
Missionaries  -  83 
Mistake  -  73 
Mistaken  Identity -91 
Misunderstanding  -  91 
Mixed  Babies -91 
Mixture  -  9 
Mob  -  37 


THE   UNIVERSAL    PLOT   CATALOG 


Mobilization  -  40 
Mockery  -  88 
Mock  Marriage  -  13 
Mogul  -  33 
Mohammed  -  80,  90 
Mohammedan  -  77 
Molly  Coddle -22 
Monarchy  -  33 
Money-  13,  47-  48.  5i 
Money-Lender  -  47 
Monk  -  79 
Monopoly  -  25 
Monstrosity -91 
Moodiness-  73 
Moonshine  -  12 
Moonshiner  -  52 

Moor  -  9,  86 

Morality  -  V 

Morganatic-  13 

Morgue  -  62 

Mormon  -  78 

Mortality -61 

Mortgage-  17 

Mosque  -  78 

Mother-  12,  14 

Motion  -  4 

Mourners  -  62 

Mountains  -  95 

Mountain  Climber  -  21 

Mountebank -23,  92 

Mrs.  Grundy  -  10 


Mummy-  62 
Munificent  -  47 
Murderer-  52 
Music-  19,  71 
Mutiny  -  37 
Mystery -21,  52,  72 
Myths  -  46,  64,  87,  100 
Mythological  -  i 
Mi'thology-X-  100 

Name -8,  13,  16,  49 
National  -  10,  40 
Nationality  -  91 
Natural  (Death)  -  61 
Nature- I,  76,  95 
Naval  -  41 
Necessity  -  75 
Necromancy  -  63 
Need  -  1 1 
Needle -51 
Ne'er- Do-Well  -  32 
Neighbors  -  1 1 
Nemesis  -  29,  75 
Neutrality  -  45 
Nevermore  -  3 
News-  19 
Night  -  32,  95 
Nobility  -  31 
Noblesse  Oblige  -  49 
Nomad  -  9 
Nonconformist  -  78 

146 


INDEX   OF    PLOT   SUBJECTS 


No  Place  Like  Home 
Nostalgia-  17,  73 
Not-Man  -  E 
Not  Man  or  Beast - 
Notoriety  -  28 
Novel  -  69 
Now  -  26 
Nun  -  79 
Nurse-  15,  59 

Oasis  -  95 
Obedience  -  13 
Obituary  -  62 
Obsession  -  73 
Obsolete -3,  10 
Occult  -  72 
Occupation  -  23 
Offender  -  54,  55 
Officer  -  39 
Official  -  31 
Ogres  -  100 
Old  Age  -  70 
Old  Flame  -  12 
Old  Maid -91 
Old  Offender  -  54 
Oligarchy  -  33 
Olympus-  89 
Omens  -  64 
Only  Child -15 
Opening  -  26 
Operation  -  56,  59 


-17  Opinion  -  35,  68 
Opportunist  -  26 
Opportunity  -  26 

100         Optimism  -  8,  93 
Oracle  -  65,  76 
Oratory  -  25 
Organization     (Church) 

78 
Orgy -51 

Ordeal  -  94 
Origin  -  A  -  2 
Orphans  -  15,  62 
Orthodox  -  74,  77 
Outlaw  -  52 
Outspoken  -  74 
Over-Education  -  66 
Over  Night  (Fame)  -  32 

Pacification  -  45 
Padrone  -  33 
Pain  -  60 
Palmistry  -  65 
Palmy  Da\'s  -  93 
Panacea  -  59 
Panic-  71 
Pantheism  -  77 
Pantomime  -  92 
Paradise  -  89 
Parasite  -  30 
Pardon  -  56 
Parenthood  -  14 


THE  UNIVERSAL  PLOT  CATALOG 


Parental  Instinct-  14 
Pariah  -  30 
Parish  -  79,  81 
Parnassus  -  32 
Parole  -  43,  56 
Participation  -  IX 
Parting  -  18 
Partners  -  1 1 
Party  -  34 
Parvenu  -  47 
Passer- By  -  20 
Passion  -  B,  51 
Passport  -  40 
Past  -  3,  6,  56 
Pastime  -  92 
Pathos-  IX -94 
Patriarch  -  14,  79 
Patriotism  -  38 
Pauper  -  47 
Pawnbroker  -  22,  53 
Peace  -  45,  83 
Peace-Maker-  15,  45 
Peace  Offering  -  45 
Peasant  -  7 
Pedant  -  66 
Pedigree -31,  53 
Peer  -  30 
Penance  -  83 
Penalty  -  60 
Peon  -  30 
Perfection  -  89 


Peril  -21 
Perjury -54 
Persecution  -  86 
Persistence  -  26 
"Personal" -28 
Personality  -  8 
Personification  -  X  -  98 
Perversity  -  50 
Pessimism  -  8 
Pest  House  -  58 
Pets  -  99 
Phantom  -  96 
Pharisee  -  87 
Phenomena  -  X  -  96 
Philanthropy-  II 
Phonograph  -  67 
Phrase  -  69 
Physics  -  67 
Picnic  -  92 
Pigeon-  19 
Pillage  -  44 

Pillars  (of  Society)  -  30 
Pillory  -  55 
Pilot  -  96 
Pining  -  94 
Pioneer-  21 
Pirate  -  52 
Pitfalls-  21 
Pity  -  94 
Plagiarism  -  69 
Plague  -  60 

148 


INDEX    OF   PLOT   SUBJECTS 


Plain  Dealing  -  74 
Plains  -  95 
Platonic-  12 
Plaudits  -  28 
Play  -  92 

Pleasure -48,  IX -93 
Plodder  -  22 
Plot  -  52 
Plunder  -  42 
P! utocracy  -  33 
Plutocrat  -  47 
Poacher  -  52 
Poetry  -  69,  70 
Poison-  61 
Polar  Regions  -  95 
Police  -  53 
Politeness  -  10 
Political  -  33 
Politics  -  23,  25 
Polution  -  58 
Polj'gamy  -  13 
Pomp  -  3 1 
Pope  -  33,  79 
Position  -  III  -  30 
Positiveness  -  74 
Posse  -  34 
Posterity  -  16 
Posthumous  -  32,  62 
Post  Mortem  -  62 
Potentate  -  33 
Potentiality  -  27 


Potter's  Field  -  62 
Poverty  -  7,  22,  47,  94 
Power -IV -33,  69 
Powers  of  Evil  -  88 
Practical  Jokes  -  91 
Praise  -  29,  84 
Pranks  -91 
Prayer  -  84 
Preacher  -  79 
Precocity-  15 
Predestination  -  75 
Prehistoric  -  I,  lOO 
Prejudice  -  50 
Premonition  -  72 
Present  -  3 
President  -  31 
Press  (The)  -  28 
Pretender  -  37 
Pride -31 
Priest  -  79 
Prime  -  5 
Primeval  -  I,  100 
Prince  -  31 
Principles  -  49 
Print  (In)  -  28,  53 
Prison  -  43,  55 
Prisoner  -  54 
Prison  Reform  -  55 
Problems  -  63 
Profanity  -  50 
Profession  -  23 

149 


THE  UNIVERSAL  PLOT  CATALOG 


Professional  -  25 
Profundity  -  68 
Progress  -  26 
Prohibition  -  59 
Propaganda  -  68,  80 
Propagandist  -  24 
Property  -  47 
Prophec}'  -  72 
Prophets  -  76,  85 
Propitious  -  26 
Proselyte  -  82 
Prosperity  -  45 
Prostitute -51 
Protectory  -  55 
Protestant  -  78 
Providence  -  76 
Providential  -  26 
Psychic  -  72 
Psychology  -  49,  52,  7: 
Publication  -  69 
Publicity  -  28 
Public  Opinion  -  35 
Pugilist  -  36 
Pun -92 
Punishment  -  55 
Puppet  -  8 
Puppet  Show  -  92 
Purgatory  -  88 
Puritan  -  86 
Purity  -  83 
Pyromaniac  -  51 


Quacks  -  59 
Quaker  -  78 
Qualities  -  49 
Quarrels  -  35 
Questions  -  63 
Quicken  (To)  -  4 
Quicksand  -  21,  95 
"Qui  Sauve  Peut"-44 

Rabbi  -  79 
Race  -  9,  37.  63 
Race  Suicide  -  9 
Radium  -  59,  67 
Raft  -  96 
Raid -41,  53 
Rank -31 
Ransom  -  43,  47 
Ranter  -  86 
Rape  -  44 
Rapture  -  93 
Rats  -  99 
Reading  -  69 
Realism  -  74 
Realization  -  90 
Reason -VII -68 
Rebellion  -  40 
Rebuilding  -  45 
Recall  -  54 
Recollection-  81 
Record  -  46 
Reconstruction  -  45 


150 


INDEX    OF   PLOT   SUBJECTS 


Re-Creation  -  A 
Recreation  -  45,  59,  92 
Recruit  -  39 
Red  Cross  -  ^o 
Redemption  -  89 
Reefs  -  96 
Reform  -  55 
Reformation  -  42,  56 
Reformatory  -  55 
Reform.er  -  86 
Refuge  -  17 
Regatta  -  92 
Regeneration  -  5^:,  81 
Regret  -  94 
Rehabilitation  -  56 
Rejection-  18 
Rejoining  -  20 
Rejuvenation  -  20 
Relapse  -  22,  60 
Relations -I,  II,  III,  IV, 

V,  VI,  VIII 
Relaxation  -  93 
Release  -  56 
Relics  -  19,  85 
Religion -63,  VIII -83 
Religious  -  24,  40 
Remarriage  -  1 3 
Remedy  -  42,  59 
Reminder-  19 
Reminiscence  -  46,  71 
Remorse -20,  56,  81,  94 


Renascence  -  66 
Renegade  -  39 
Renown  -  32 
Renunciation  -  79 
Repentance  -  56 
Reportorial  -  28 
Rescue  -  21,  42,  96,  97 
Research  -  46 
Restraint  -  54 
Resurrection  -  89 
Resuscitation  -  61 
Retribution  -  43,  56 
Return  -  20 
Re-Union  -  20 
Revelation  -  76,  80 
Revenge -44,  51 
Reveries  -  70 
Revivals  -  81 
Revolt  -  37 
Revolution  -  40 
Reward  -  27,  42,  53,  67 
Rhetoric  -  69 
Rich  -  47 
Ridiculous  -  D 
Riot  -  37 
Rising  -  37 
Ritual  -  84 
Rivalry  -  25 
Rivals-  12 
River  -  98 
Romance-  12,  70,  85 


151 


THE  UNIVERSAL   PLOT  CATALOG 


Royalty -31 
Ruin  -  22 
Ruler -31 

Runav/ay-  13,  15,  18 
Russian  -  9 
Rustler  -  52 
Rut  -  22 

Sabotage  -  35 
Sacraments  -  84 
Sacrifice- II,  14,   16,  38, 

67,  83,  88,  94 
Sacrilege  -  88 
Safety  First  -  59 
Sagacity  -  68 
Sainthood  -  89 
Saints  -  85 
Salamander  -  100 
Saloon  -  22 
Salvation  -  89 
Salvation  Army  -  22,  78 
Salubrity -57 
Sanctimonious  -  87 
Sanctuary  -  86 
Sanitation  -  57 
Santa  Claus  -  15,  85 
Satan  -  88 
Satellite  -  31 
Satyr-  100 
Savages  -21 
Savior  -  89 


Scalps  -  44 
Scandal  -  28,  50 
Scape-Goat  -  22 
Scar  -  53 
Schism  -  87 
Scholar  -  66 
School  Days  -  66 
Science  -  32,  63,  67,  78 
Scientist  -  67 
Scorpions  -  99 
Scout  -  39 
Sea  -  96 

Sea  Serpent  -  100 
Season (s)  -  3,  26,  95 
Secret  Marriage-  13 
Secrets  (Family)  -  16 
Seekers  (Home)  -  17 
Self  -  8 
Selfish  -  29 
Seminary  -  79 
Senses  -  4,  71 
Sentiment  -  12,  71 
Sentinel  -  39 
Separation  -  18 
Serf  -  55 
Sermon  -  80 
Servant  -  23 
Service  -  24 
Sex -51 
Shame  -  56 
Shark  -  47,  99 


152 


INDEX   OF   PLOT  SUBJECTS 


Sharpshooter  -  39 
Sharp  Tongue  -  50 
Shintoism  -  77 
Shock  -  59,  94 
Shophiter  -  52 
Short  Story  -  69 
Show  -  92 
Shrines  -  84 
Side  -  34 
Siege  -  41 
Signals  -  19 
Sin  -  Y  -  88 
Sincerity  -  74 
Sinecure  -  23 
Sins  of  the  Father  -  60 
Siren  -  100 
Sisters  -  16 
Situation  -  91 
Skeleton  -  16,  62 
Skirmish  -  41 
Skit -91 
Slattern  -  6,  58 
Slave -7,  30,  51 
Slave  Driver  -  33 
Slavery  -  44 
Sleep  -  72 
Sloven  -  58 
Smuggler  -  52 
Snakes  -  99,  lOO 
Snare  -  48 
Snob  -  30 
Snow  -  95 


Sociability  -  93 
Social  -  7,  63 
Socialism  -  35 
Society  -  10,  III  -  29,  30 
Sociology  -  10 
Sophistry  -  65 
Solace  - 1 1 
Soldier  -  39 
Solitude-  71 
Son  -  15 

Somnambulism  -  73 
Song -71,  93 
Sorcerer  -  87 
Sorrow  -  94 
Soul -VIII 
Soundness  -  57 
Souvenirs  -  11 
Species  -  9 

Speculation  -  21,  47,  48 
Spendthrift  -  47 
Spinster  -  6 
Spirit  -  89 
Spiritualists  -  87 
Spoiled  (Child)-  15 
Sport  -  25,  92 
Springtime -71,  95 

Spy  -  39 
Squabbles  -  16 
Squaw  -  6 
Squealer  -  53 
Stampede  -  99 
Star  Maiden  -  100 


153 


THE  UNIVERSAL  PLOT  CATALOG 


Starvation  -  48,  58,  61 
Star  World  -  100 
State  -  7,  62,  89 
State's  Evidence  -  53 
Statesman  -  31 
Station  -  31 
Statistics  -  46 
Step-Child-  15 
Step-Mother  -  14 
Stimulation  -  IX 
Stingy  -  47 
Stoic  -  60 
Stone  Age  -  i 
Storm  -  73.  95 
Story  -  69 
Stowaway-  15,  96 
Stranded  -  47 
Stranger  -  8 
Strategy'  -  41 
Streams  -  95 
Stress  -  IX 
Strike  -  37 

Strong  (Character)  -  49 
Struggle -I,   II,    III,    IV, 

V,  VI,  VII,  VIII,  69 
Student  -  66 
Stupidity  -  68,  91 
Style  -  69 
Subconscious  -  8 
Subjugation-  43 
Sublime  -  D 
Submarine  -  96 


Subtlety  -  8 
Success  -  27 
Suffering  -  94 
Suffrage-  17-37 
Suffragette  -  6,  91 
Suffragist  -  24 
Suggestion  -  59,  71 
Suicide  -  9,  61 
Sun  Worshipper  -  77 
Superman  -  6 
Supernatural  -  72 
Superstition  -  64,  91 
Supposition  -  70 
Suppressed  (Fame)  -  32 
Supremacy  -  IV 
Surrender  -  43 
Survival  of   the  Fittest- 

9 

Sweetheart  -  12 
Sym.pathy  -  94 
Synagog  -  78 

Taint  -51 
Talisman  -  64 
Talmud  -  76 
Tame  (Animals)  -  99 
Taste-  10 
Taxation  -  43 
Teacher  -  66 
Tears  -  94 
Technicalities  -  54 
Telepathy  -  19,  72 


154 


INDEX  OF   PLOT  SUBJECTS 


Telescope  - 19 
Tell-Tale  -  28,  50 
Temper  -  50 
Temperament  -  8 
Templars  -  85 
Temple  -  78 
Temptation  -  48,  81,  88 
Tempus  Fugit  -  3,  26 
Termagant  -  6 
Territory  -  42 
Test  -  67 
Thankfulness  -  93 
Theology  -  77 
Theory-  i,  68 
Third  Degree  -  53 
Thief  -  52 
Thirteen  -  64 
Thorobred  -  49 
Thought  -  68 
Thrift  -  27,  47 
Throne  -  29 
Tides  -  96 
Ties-  16 
Time -3,  71 
Time-Honored  -  3 
Times  -  3 
Time- Worn  -  3 
Title  -  29 
Tobacco  -  50 
Tomb  -  62 
Tomfoolery  -  91 
Tomorrow  -  26 


Tongues  (Combat  of)-  36, 

50 
Too  Late  -  26,  94 
Tourney  -  36 
Town  (Home)  -  17 
Toys  -  92 
Tracts  -  69 
Traditions-  16 
Tragedy  -  94 
Tragical  -  28 
Tragic  Emotion  -  94 
Traitor  -  38 
Trance  -  87 

Transcendentalism  -  85 
Translation  -  89 
Transmigration  -  89 
Trappist  -  79 
Travesty-  91 
Treasure  -  47 
Treaty  -  45 
Tree  -  98 
Trenches -41 
Trial  -  54 
Tribal  -  40 
Tribe  -  34 
Tribulation  -  21 
Trinity  -  90 
Triumph  -  42 
Troubadors  -  70 
Truce  -  45 
Trust  -  1 1 
Trusty  -  56 


THE   UNIVERSAL   PLOT  CATALOG 


Truth  -  74 
Trysts  -  12 
Twins-  15 
Type  -  49 
Typhoon  -  95 
Tyrant  -  33 

Ugly  Duckling-  15 
Ultimate  -  74 
Ultimatum  -  40 
Unbeliever  -  86 
Uncleanness  -  57 
Under  Fire -41 
Undertaker  -  62 
Underworld  -  52 
Unemployed  -  35 
Unfaithfulness-  18 
Unfrock  -  79 
Unicorn  -  100 
Union  -  20,  42 
Unregenerate  -  52 
Unrest  -  35 
Unsavory    (Notoriety) 

28 
Unvarnished  -  74 
Unwritten  Law  -  54 
Uplifting  (Success)  -  27 
Urchin-  15 
Usurper  -  33 
Utopia  -  70 

Valhalla  -  89 
Valkyries  -  100 


Valleys  -  95 
Vampire  -  51 
Vanity  -  50 
Vassal  -  30 
Vault  -  62 
Vendetta  -  37 
Venereal  -  60 
Vengeance  -  55 
Veracity  -  74 
Veteran  -  39 
Vicarious  -  55,  61 
Vicissitudes  -  A,  B,  C,  D 
Victim  -  52 
Victory  -  42 
Vigilantes  -  55 
Village  -  98 
Violation  -  58 
Violence  -  37,  61 
Virgin  Mary  -  84 
Virility  -  5 
Visions  -  76,  85 
Visionary  -  73 
Vitality  -  4 
Vivisection  -  99 
Vixen  -  6 
Vocation  -  24 
Voices  -  73 
Volcano  -  95 
Voluptuous -93 
Voodoo  -  65 
Vows  -  79 
Vox  Populi  -  35 


INDEX    OF    PLOT -SUBJECTS 


Wage  Earner  -  6 
Wake  -  62 
Wanderlust-  18,  50 
War -32,  40 
War  Dance  -  40 
Warden  -  55 
Warning-  21 
Warrior  -  24 
Wasted  Opportunity  - 
Waste  Places  -  95 
Water  (Death)  -  61 
Weakness  -  6 
Wealth  -  29,  4-7 
Wedding-  13 
Wedlock  -  13 
Whale  -  99 
Whims  -  93 
White  (Race)  -  9 
White  Feather  -  39 
White  Plague  -  60 
White  Slave -51 
White  Slaver  -  52 
Widowhood  -  1 8 
Widows  -  62 
Wife  -  13 
Wild  Animals  -  99 
Wild  Oats -51 
Wild  Sects  -  86 
Wild  West -21 
Will  -  62,  63 
Will  of  God  -  75 
Will-o'-the-Wisp  -  32 


26 


Wind  -  95 
Winner  -  5 
Wireless  -  96 
Wire-Tapper  -  39 
Wisdom  -  68 
Wit  -  68,  92 
Witches  -  64,  88,  lOO 
Witching-Hour  -  70 
Within  the  Law  -  54 
Witness  -  54 
Wolves  -  99 

Woman-  II,  6,  38,  48,  79 
Woman-Hater  -  5 
Women  First  -  10 
Word  (The)  -  76 
Workhouse  -  55 
Works  -  80,  83 
Worry  -  58 
Worship-  12,  77,  84 
Wounds  -  44 
Wreck  -  96 
Wrong  House  -  91 

X-Ray  -  59 

Yellow  (Race)  -  9 
Yesterday  -  26 
Youth  -  57,  70 


Zealot  -  86 
Zodiac  -  72 


157 


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